Samipya 2008 Vol 25 Ank 03 04

Author(s): R T Savalia
Publisher: Bholabhai Jeshingbhai Adhyayan Sanshodhan Vidyabhavan
Catalog link: https://jainqq.org/explore/535849/1

Page #1
Journal of the B. J. Institute of Learning & Research SAMIPYA Vol. XXV Nos. 3-4, October-2008, March-2009 V.S. 2064-65, Asvina-Falguna Editor : Dr. Ramjibhai Savalia Result2-Sales flat, juo DaoN. thomasa paramArano lekha Gujarat Vidyasabha B.J. Institute of Learning & Research Ahmedabad-380009. For Private and Personal Use Only

Page #2
lekhakone vijJapti varSamAM cAra aMka bahAra paDe che : 'sAmIpyamAM prakAzita karavA mATe lekhakoe eprila-jUna, julAI-sapTembara, oNkTobara-Disembara ane jAnyuArI-mArca pRSThanI eka ja bAjue zAhIthI suvAcya akSare lavAjama lakhelA lekha mokalavA vinaMtI che. zakya hoya to lekho TAIpa karI mokalavA jarUrI che. gujarAta ke bhAratamAM : rUA. 100/- (TapAla kharca sAthe) chUTaka aMkanI kiMmata : rU. 7OvidyApITha joDaNIkoza pramANenI joDaNI rAkhavI Avazyaka che. lekhanI mULa prata ja mokalavI. lekhanuM paradezamAM : yu.esa.e. mATe 8 Dolara (TapAla kharca sAthe) lakhANa 3,000 zabdothI vadhu lAMbuM na hovuM joIe. bhAratIya itihAsa, saMskRti, purAtattva ane yuropa ane anya dezo mATe prAcyavidyAne lagatA koI paNa viSaya parano 3.50 pIMDa (TapAla kharca sAthe) lavAjama mATenuM varSa eprilathI mArca saMzodhanAtmaka ke ucca kakSAno lekha ja svIkAravAmAM ma. o. patro, lekho, ceko vagere niyAmaka, Avaze. lekhakoe pAdaTIpamAM saMdarbhagraMthanuM nAma, * bho.je. adhyayana-saMzodhana vidyAbhavana, ha.kA. enA lekhaka ke saMpAdakanuM nAma, AvRtti, kaoNlejanA kampAunDamAM, Azrama roDa, amadAvAdaprakAzanasthaLa, varSa vagere vigato darzAvavI Avazyaka 380OO9, e saranAme mokalavA. che. lekhanI sAthe jarUrI phoTogrApha, rekhAMkano vagere jAherAto mokalavA Avazyaka che. A tramAsikamAM jAherAto ApavA mATe lakho : anyatra pragaTa thavA mokalelAM lakhANa A saMpAdaka 'sAmIpya bho.je. adhyayana-saMzodhana sAmayika mATe mokalavAM nahIM. ahIM pragaTa thatA vidyAbhavana, ha.kA. kaoNlejanA kampAunDamAM, Azrama lekhomAM vicAro lekhakanA che. tenI sAthe saMpAdako. roDa, amadAvAda-380OO. hamezAM sahamata che ema mAnavuM nahIM. sAmayikanAM jAherAtanA dara A lakhANa kopIrAITathI surakSita karavAmAM aMdaranuM pRSTha AkhuM rUA. pa00/Ave che. aMdaranuM pRSTha aDadhuM rUA.250/A sAmayikamAM prasiddha thayelA lekhanI 5 AvaraNa bIjuM trIjuM rU.1OOO/oNprinTsa lekhakone ApavAmAM Avaze. . AvaraNa cothuM rUA. 20OOgraMthAvalokana mATe prakAzaka : DaoN. rAmajIbhAI sAvaliyA graMthanI samIkSA karAvavA mATe pustakanI be kAryakArI niyAmaka nakala mokalavI anivArya gaNAze. je pustakanI bho.je. vidyAbhavana, eka nakala maLI haze tenI samIkSAne badale e ha.kA.kaoNleja kampAunDamAM, aMge sAbhAra svIkAra noMdhamAM eno samAveza amadAvAda-380009 karavAmAM Avaze. pustaka samIkSAne yogya che ke kema phona : 26588862 eno nirNaya saMpAdako karaze. prakAzana varSa : 2009 pustakanA samIkSakane emanA avalokananI : mudraka : pAMca oNphaprinTsa tathA emaNe avalokana karela kriSnA grAphiksa graMthanI nakala bheTa apAze. 966, nAraNapurA jUnA gAma, -saMpAdaka amadAvAda-13, phona : 27494393 For Private and Personal Use Only

Page #3
SAMAPYA October - 2008, March - 2009 V.S. 2064-65, Ashvin-Falguna CONTENTS Some Issues on the Gender Politics in the Bhakti Genre of Indian Dance-theatre Performance Some Unique Step-Wells and Tanks of Gujarat and Rajasthan Ethical Values Regarding Education in Early Upanisads Birds in Sanskrit Literature The Peasant's Participation in Freedom Struggle in Saurashtra atharvaveda meM jalacikitsA paramparA aura AdhunikatA bhUmidAna ane tAmrapatro gItagoviMda ane kRSNagIti paurastya nATya-vibhAvanA sarjIni sarvanAmAni | 1-1-27 sUtrano parAmarza bRhadAraNyaka upaniSamAM AtmAnuM sthAna Anarta pradezanA vArasA samI prAcIna durlabha hastaprato ziva maMdira, puMarezvara. konuM kartutva ? paMcamasvaranI gAyikA koyalanuM kAMgaDA citrazailImAM Alekhana gujarAtanA chappaniyA dukALa vizenA traNa zilAlekha briTiza zAsananI saurASTra para paDela asaro graMthasamIkSA mukhapRSTha phoTo : samajUti mATe juo, DaoN. thomasa pa2mA2no lekha. Vol. XXV Nos. 3-4 Dr. Purnima Shah Dr. Ramjibhai Savalia Dr. Swati Shah Dr. Tejani Gautam Munshi Dr. S.V. Jani prA. zraddhA raghuvaMzI DaoN. DI. eca. gosvAmI DaoN. surekhA paTela 81 DaoN. harSadeva mAdhava 87 DaoN. hariprasAda zAstrI 96 DaoN. priyabALA zAha 98 DaoN. vasantakumAra ma. bhaTTa 101 prA. vijayAnanda paTela 105 108 116 121 124 130 137 144 zrI dinakara mahetA DaoN. annapUrNA zAha DaoN. thomasa paramAra DaoN. kalpA e. mANeka 1 makara B. J. INSTITUTE H. K. Arts College Compound, Ashram Road, Ahmedabad-380009

Page #4
Some Issues on the Gender Politics in the Bhakti Genre of Indian Dance-theatre Performance Dr. Purnima Shah* The bhakti movement starting from the 9th century AD dominated the religious and cultural landscape of Hinduism in medieval India and evolved with a revolutionary potential branching out over centuries in many directions, most prominently, one in which it provided its devotees with an emotionally charged ecstatic experience through a dramatic enactment of devotion to one's personal God. The rise of the bhakti form of Vaishnavism and the popularity of the idea of erotic mysticism gave an impetus to the emergence of several regional dance-theatre forms all over India, during the 16 through the 19th centuries, which were practiced by the devotees as a mode of devotional expression and religious realization, demanding highly specialized artistic training and techniques of performance. Several socio-religious factors contributed to the wide spread popularity of the Vaishnavite bhakti during this period: while the hard core intellectuality of the (Shaivite) Advaita dogmas and doctrines were closely guarded within the brahmanic fold and were not easily accessible to the masses, the poetic renderings of the bhakti saints enjoyed an unprecedented mass appeal through centuries. The earlier prevalence of extreme Tantrism which, in some corrupt cases was led to licentiousness and hence denounced by the brahmins and questioned by the common people as well. Many bhakti saints, namely, Kabir, Suradas, Ramdas, Mirabai, Tulsidas and several others, challenged the rigidity of orthodox Brahmanism in both the social and religious spheres, denying caste hierarchies and preaching for tolerance and love. Sufism also influenced the bhakti movement with its emphasis on ecstatic devotion towards God. Finally and importantly, the popularity of Vaishnavite bhakti was also a form of a religious response against numerous invasions on India by various central Asian and other Muslim tribes and the consequent expansion of the Mughal empire in India. It was under these radical and subversive religio-political circumstances and within such a highly devotional ambience that the dance theatre forms discussed in this essay emerged. One common factor governing the bhakti genre of dance-theatre forms was that they were strictly all-male troupes, formed largely by brahmins. The founders and practitioners of these forms conceptualized, glorified and celebrated the female principle "sakti," and even centralized their lead female character role as divine in the art of their performance, however, the inclusion of women in any theatrical capacity was vehemently denied. In this essay, I will first discuss the religious context of the various dance-theatre forms which emerged during the bhakti period from 16" through 19 centuries as a performative tool for enacting one's devotion towards a personal God. Ecstatic bhakti was central to the * Asst. Professor of the Practice of Dance, Duke University Dance Programme, Durham, North Carolina, USA Some Issues on the Gender Politics in the Bhakti Genre of Indian... For Private and Personal Use Only 1

Page #5
performance of these particular forms, however, this privilege of theatrical acting, dancing and singing as a way of salvation, limited largely to male brahmin devotees only, diverged from the very foundational idea that initiated the bhakti movement - of empowering the commoners and the communities of the lower castes with devotional modes of communication with God. Secondly, I will examine major issues concerning gender politics within the bhakti genre of dance-theatre focusing on the predicaments encountered in the continuity of the allmale artistic traditions during the Victorian era in India and finally, analyze the compromises, challenges and changes necessitated in these all-male art forms, consequential to the empowerment of upper-class women into the field of classical dance-theatre performance after independence from the British rule in the 1940s and 50s. Vaishnavism conceives Ultimate Reality as a cosmic drama, the eternal play of Sri Krishna (Haberman 1988:53); the ultimate goal of the devotee being not only to become one with the Ultimate Reality but to relish the process of achieving that blissful "oneness" aesthetically and eternally. Bhaktas sought relationship with Sri Krishna through different modes of sentiments or bhavas: santa, adoration of the Lord through meditation and inward reflection; sakhya, companionship with the Lord as one's best friend; vatsalya, affection for the Lord in the form of a divine child, dasya, humble servitude to the Lord in the forin of a divine King; and more typically, madhurya, aspirations to revel in the blissful state of divine love - passionate devotion to the Lord as a divine lover. Particular sects of Vaishnava devotees acknowledge Sri Krishna as the eternal and the only Male principle. Consequently, the aesthetic experience of madhura bhakti entails an identification of the devotee with the "female," enacted either in the role of Radha, a gopi, Radha's sakhi, or Satyabhama, exemplifying the amorous sentiment towards Sri Krishna. On the whole, Radha is conceptualized as the epitome of devotion to Krishna to the ultimate extent that even He becomes her most ardent devotee. In the 12th century epic love poem, Gitagovinda, authored by Jayadeva, Krishna tells God of Love that "it is pointless to attack him, for Radha, 'the living goddess of love's triumph' (ananga-jaya-jangama-devata 3:15) has already defeated him" (Miller: 1982:23). In this sense, madhura bhakti is perceived as the highest form of worship and the only mode of experiencing "pure" and "divine love" of the Godhead. All-male bhakti forms of dance-theatre : The bhakti movement emancipated masses in the lower castes and later spread all over the country bringing about a momentous change in the history of Indian religions and thereby, in the related performance traditions as well. On the one hand, the bhakti movement expressed through the vernacular languages, represented a subversion by the lower castes against the stifling norms of the brahmanic hegemony in undermining the centrality of both the Vedic rituals and the brahmin ritualist as intermediaries between mortals and gods, with claims that their passionate devotion itself was a powerful tool in achieving the blissful joy of oneness with the divine. The brahmins also took the bhakti movement in their stride in furthering patriarchal authority and hegemonic supremacy over the rest of the castes. This 2011 : y. 24, Bis 3-8, msal. 2006 - Hizi, 2006 For Private and Personal Use Only

Page #6
claim is clearly evident in the fact that at least since the 16th century, emerging forms of bhakti dance-theatre were largely the domain of male brahmins performed strictly within the religious context of artistic practice. Between the 16th and the 19th centuries AD, the bhakti philosophy characterized the development, growth and maturity of several all-male regional dance-theatre forms all over India, such as, the Natya Mela of Andhra Pradesh and a similar form Bhagavata Mela of Tamilnadu, Kathakali of Kerala, Gotipua nritya of Orissa, Sattriya of Assam, Rasalila of Vraja, and the (temple) Kathak from the larger northern regions, to name only a few. According to brahmanic thought, "the human body and its physical potential are manifestations of the universal spirit and soul" (Baumer and Brandon 1981:4) and in this context, devotion expressed through bodily movements accounts for particular religious significance. The bhakti movement recognized poetry, music, dance and theatre as primary vehicles for devotional practice, ecstatic motivation and spiritual realization. Thus, the final goal of the bhakti forms of dance-theatre was directed towards inducing in the audience, bhakti rasa or the highest aesthetic pleasure derived from an upsurge of the emotion of devotion by way of performance. All elements of production and conventions of drama.- a set framework for constructing the theatre and developing the thematic structure, the preliminary ritual puja and offerings, song, dance, systematic introduction and development of each character role including female impersonation, the battle scenes between the "divine" and the "demonic," - were judiciously choreographed and used at best to achieve this desired goal. These performance forms catered to all levels of audience reception: the elite connoisseurs and patrons, well versed in the Sanskrit language and the dramatic codes elucidated in the Natyasastra, comprehended and applauded the subtle nuances of the literary text and technical details presented in the performance. The commoners, although not as literate, equally enjoyed the performances, grasping the audio (sravya) and visual (drasya) inter-relationships between the voice, the music, the dancer-actors' expertise in the portrayal of the abhinaya (codified system of acting), and the mis-en-scene. Abhinaya, or the manner in which the dancer-actor portrays the minute expressions of the face, the hand gestures, bodily stances and rhythmic footwork, is at the heart of rasa, the aesthetic pleasure derived through modes of audience reception. Strictly developed as an all-male genre of artistic performance, the brahmin caste usually took the prerogative of participation with the exception of Kathakali dance-theatre of Kerala which also permitted Nayar (warrior) caste participants due to its linkage with the martial art of Kalaripayattu. With the "brahmanization" of the bhakti forms of dance-theatre, aspiring female actor-dancer-musicians were denied such a devotional practice and spiritual experience in spite of the fact that some of the bhakti saints, such as Andal (8-9th century AD), Akkamahadevi (12th century AD), Mirabai (16th century AD), Jahnava (15-16th century AD), Bahinabai (17th century AD), and several others, had already set precedence for women's "ascetic" pursuit of an "erotic" conceptualization of devotion and spirituality during this time period (see Ramanujan 1982; Rosen 1996; Sangari 2001; Hawley 1988; King 1997; Some Issues on the Gender Politics in the Bhakti Genre of Indian... For Private and Personal Use Only 3

Page #7
Harlan 1992; Mulatti 1989). In majority of the bhakti genre of dance-theatre forms, female roles were performed by male brahmin actor-dancers as a form of Krishna worship until as late as the 1940s and 50s; in theatrical forms such as the Gotipua nritya of Orissa, Kathakali of Kerala and Sattriya of Assam, the tradition of female impersonation by male actors continues to-date. In the following section, I will discuss the religious context of the prominent dancetheatre forms which emerged during the bhakti period from 16th through the 19th century: The Natya Mela and Kuchipudi of Andhra Pradesh was a 16th century product of the bhakti movement. Founded by an ardent devotee of Sri Krishna, Tirthanarayan Sastri, Natya Mela centered around the performance of Krishna episodes from the Bhagavad Purana; hence the performers came to be called bhagavathulu. Tirthanarayana wrote the Krishna Lila Tarangini in the form of a musical opera which continued to be performed on the occasion of Krishna Janamasthami. One of his disciples, a Telugu brahmin named Sidhyendra Yogi, further developed this form as instructed by Sri Krishna envisioned in his dream. He formed a melam or an all-male troupe of brahmin devotees, trained them in Sanskrit and Telugu sastras, sastras on dramaturgy and performance techniques and travelled from village to village educating and entertaining the people through performance. Inspired by the vision of the Divine in his dream, he wrote the dance-drama Parijatapaharanam (the Stealing of the Parijata Flower) in the form of a sringara kavya or love poem dedicated to Sri Krishna. Performed in its entirety, this play lasted for nine nights. This dance-drama was also known as Bhama Kalapam based on the central character role of Sri Krishna's queen, Satyabhama. Glorifying the concept of madhura bhakti, Sidhyendra Yogi professed that a devout performance of the role of Satyabhama by the male devotee would lead to moksha, the liberation of the soul from the cycle of birth, death and rebirth. This role enfolded an elaborate treatment of the queen's character, providing a challenge to the male actor-dancers in terms of the scope it offered in the portrayal of abhinaya of all the ashtanayikas' or the eight emotional states of the heroine mentioned in the Natyasastra, using tandava (forceful) and lasya (soft and graceful) types of movements. Hence, female impersonation became a unique feature of the Natya Mela and Kuchipudi, perfected to a special art, particularly in the elaborate portrayal of Satyabhama, around whose embellished character the dance-drama was originally composed. Sidhyendra Yogi was strictly opposed to including female devotees or even the kalavanthulu, the female temple ritual dancers of Andhra in his performance troupe. The Bhagavata Mela Nataka of Tamil Nadu developed as a bhakti genre of performance in Melatur as a counterpart to Natya Mela when Achyutappa, one of the Nayakas of Tanjavur, endowed the village to 501 brahmin families for the purpose of nurturing the arts. Bhagavata Mela, also an all male dance-theatre form was performed strictly for religious and devotional purpose in the Vaishnava temples of Tanjavur. The local male dancers, actors and musicians performed Krishna centered plays as a devout offering zulu : y. 24, vis 3-8, sel. 2001 - Hize, 2006 For Private and Personal Use Only

Page #8
to the temple deity with the festive celebrations lasting up to ten nights. Like the Natya Mela, the female role was performed by male actor-dancers. The female character was first presented behind a hand-held curtain behind which the artist performed an alarippu, an invocatory dance. The curtain was then pulled away to present the female impersonator in full costume. Women were denied participation in Bhagavata Mela too. Largely, the playwrights were also men; poetry or plays written by equally literate devadasis or female temple ritualists were not accepted for performance in all-male forms of dance-theatre. It was laudable for male poets of the bhakti period to express devotion through erotic poetry, but was considered inappropriate and unacceptable for women to do so. Few women saints, more specifically, Andal," dared to subvert the prevailing norm with their erotic devotional poetry. Sankaradeva (1449-1568), a dynamic reformer, teacher and expounder of Vaishnavism played a vital role in introducing the bhakti sect in Assam. Having travelled widely to religious pilgrimages all over India, Sankaradeva returned with a fiery zeal to spread Vaishnavism through the medium of literature, music, dance and drama. He enunciated the ideals of Vaishnava bhakti and propagated them through the institution of sattra, at least 400 of which eventually flourished all over Assam. The sattra, as a religious institution, are formed exclusively of celibate male brahmin monks who receive systematic and intense training in Vaishnava religious texts, dance and music performance. The religious dancetheatre performance practices of the sattra monks came to be identified as Sattriya. As an enigmatic group of performing monks any association with women is strictly forbidden. Sankaradeva produced the Chinna Yatra depicting seven Vaikuntha or abodes of Vishnu, with himself presiding in the role of Sri Vishnu, against the backdrop of a series of painted images. Ankia Nat and Bhaona forms of bhakti dance-theatre performance developed from their predecessor, China Yatra. Sankaradeva wrote six plays for Ankia Nat including Parijata Harana, Rukhmini Harana, and Kali Damana. The Sutradhara is the key figure in the performance of Ankia Nat and Bhaonas and action is presented in the form of dancing and singing, set to prescribed raga and tala. Sutradhara nach, Krishna nach and Gopi nach, principal dances in Ankia Nat are performed only by men and young boys initiated into the sattra on the basis of Sankaradeva's bhakti poetry. All female roles are performed by men. Gotipua nritya emerged in Orissa as a bhakti genre of dance in the 17th century. Patronized by the local gymnasia and landlords, troupes of gotipua or young boys under 16 years of age, performed in the outer temple courtyards and travelled from village to village competing and entertaining people with Krishna stories. In accordance with the concept of madhura bhakti, these boys were dressed in female bridal attire, fully decked in a colourful silk sari and a rich variety of silver jewellery. The Jagannath temple of Puri, Orissa, holds. a unique historic significance for Vaishnava, Shaiva as well as Tantric worshipers. During special annual temple festivals, the young gotipuas performed technical as well as acrobatic. Some Issues on the Gender Politics in the Bhakti Genre of Indian... For Private and Personal Use Only 5

Page #9
dances, namely, the Chandan Yatra and Jhulan Yatra, side by side with the mahari or female temple ritualists, in order to entertain the temple deity, Jagannath. Once these young actor-dancers achieved the age of maturity, they were asked to retire as active performers. Chakiar Kuthoo of Kerala was an ancient genre performed only by selected males of the Chakiar caste and performed only in a kuttambalam or temple theatre to the privilege of an upper caste audience. Themes were based on the Ramayana, the Mahabharata, and the Puranas. While the performance text of the Chakiar Kuthoo was written exclusively in Sanskrit, the solo performer would intelligently intersperse explanations and relevant sociopolitical satirical comments in vernacular Malayalam as well. The Chakiar performed solo, impersonating all characters, including the female and the funny, as they entered the story? Both Krishnattam and Ramanattam forms of bhakti dance-theatre developed in Kerala during the 17th century as a votive offering to Sri Krishna and Sri Rama respectively, with the patronage of Kerala's connoisseur rulers. Presented in a series of eight nights, the all-male performance of these two forms entailed the enactment of the entire story of Krishna and Rama as incarnations of Vishnu on earth. Largely, the playwrights for these forins were the patron kings themselves. All female roles were performed by male actordancers. Kathakali developed in Kerala as a classic dance-theatre form during the 17th century incorporating the best elements of its above mentioned precursors, the Chakiar Kuthoo, Krishnattam and Ramanattam. Patronized by the royal and aristocratic families in Kerala, Kathakali also emerged as an all-male dance-theatre form dominated by the Namboodiri brahmins. Due to its leanings on Kalaripayattu, the martial art form of Kerala, however, male performers from the Nayar (warrior) caste are also included. The vast corpus of attakatha or the text for the Kathakali plays written in Sanskrit and sankritized Malayalam, largely based on the episodes from the Epics, were often authored by the male royals and the ruling class. Strenuous movement technique and intense "character" training in Kathakali demonstrates the heroic and glorious aspects of masculinity demanding a martial control of the entire body and flexibility of the minutest muscles on the face paralleled by a subtle sensitivity of emotional expression. In a splendid attempt to transport the audiences to the super-natural world of Gods, demons and mythic beings, Kathakali evolved intricate and complex categories of mask-like facial make-up for male characters to be enhanced by large coloruful head-dresses. The colourful patterns on the face determine the nature and the quality of the character - pacca for the heroic, just and of noble lineage, katti for characters of noble lineage with an evil nature, white beard tatti for ascetics and mendicants and black beard tatti used for demonic and conniving characters. Compared to the divine and demonic superhuman male roles, female characters and clowns wear relatively light and natural makeup in keeping with their human-like status and appearance. In spite of the matriarchal traditions long prevailing in Kerala, classic Kathakali continues to be the man's world; female roles have been traditionally performed only by male zulu : y. 24, vis 3-8, wszl. 2001 - Huzi, 2004 For Private and Personal Use Only

Page #10
actors and continue to be so to-date. Phillip Zarrilli, a kalaripayattu practitioner and scholar notes that "women are generally perceived as not having a strong enough constitution to undergo the rigors of full-time training and performance with its vigorous, strong, and energetic (tandava) dance, its difficult body exercise training and painful, deep, full-body message derived from Kerala martial tradition (kalaripayattu)" (2000:70). Marlene Pitkow also notes that a female dancer was refused admission into Kerala Kalamandalam, one of the most renowned institutions for training in Kathakali, "because she was a woman." She adds that, "the presence of Indian women in the classroom would be too disruptive to the learning process, a member of the Kalamandalam's governing council told us. He also noted that because women would quit once they married, training them was not worth the investment" (1998:80). The Rasalila dance-theatre of Vraja in Uttar Pradesh is a 16th century product of the bhakti movement performed on the auspices of Krishna janmasthami. For several centuries in the past, great religious gurus, Sanskrit and vernacular poets, philosophers and brahmin theologians have established Vraja and its neighbouring town Vrindavana as the centre for literary and religious discourse. Since the sixteenth century, particularly, Vraja became the key focus of attention, a primary place of pilgrimage for the bhakti saints and devotees. In keeping with the notion of madhura bhakti, Rasalila plays center around erotic symbolism enacted by the male devotees of Vraja through identification of themselves with the gopis, singing and dancing with an ecstatically romantic fervor towards Sri Krishna. The swarupa of Radha and Krishna, played by young brahmin boys are revered, worshiped and divinized for the duration of the play, however, after their voice breaks, they are no longer considered fit for the role. A significant part of Rasalila is the Rasa, a circle dance, giving the audiences a glimpse of the spiritual representation of Krishna lila as He performed the divine dance with Radha and each of the gopis in the forests of Vraja on full moon nights. Rasalila then presents various playful episodes of Krishna's relationships with Radha and the gopis interspersed with short pieces of Kathak dance technique. A few days prior to the perforinance of the Rasalila, the young boy actors playing the lead role of Radha and Krishna are given residence inside the temple providing them with a religious atmosphere that would enable them to concentrate on the divine character roles they will play. The adult actors "observe celibacy and fast for self-purification, eating only milk and fruits" (Gargi 1966:130). Adhering to notions of "purity," the male actors abstain from smoking or drinking (even water) for the duration of the play (Gargi 1966:121). The perforinance culminates with audience participation in mass chanting and devotional singing. Loud clamming of the cymbals, beating of the drums supporting the chanting creates an ecstatically devotional atmosphere. For centuries, Varanasi, with its numerous temples and learning institutions, has enjoyed renown as being the holy city and the most prominent center for brahmanic culture, religion and philosophy. Hundreds of festivals are celebrated in Varanasi annually including Some Issues on the Gender Politics in the Bhakti Genre of Indian... For Private and Personal Use Only

Page #11
the Vaishnavite celebration of Ramlila, the "cosmic play" of Sri Rama. Like the Rasalila of Vraja, Ramlila too is an all male bhakti theatre form. It draws its performance text from Ramayana and Tulsidas's Ramacharitamanas,' and is performed in regions all over north India. Developed as a bhakti genre around the nineteenth century, the Ramlila of Varanasi and more specifically, of Ramnagar in Uttar Pradesh, provides a fascinating theatrical experience. The Maharaja of Varanasi plays the chief patron and host to Ramlila performed as a month long event held during the Dasehra festival each year. He parades riding over the royal elephant led by his marching band among cheers from tens of thousands of people gathered to witness the spiritual representation of the coming to earth of Sri Rama. In Ramnagar, the entire town is deeply submerged into great devotional fervor at this time as the entire Ramlila theatre travels night after night from the central square to the river front and to the outskirts of the town in keeping with the Ramayana acts as they progress in the epic story. To an audience of over one hundred thousand people gathered to watch the Ramlila at Ramnagar during the Dasehra festival, the characters are swarupa or representations of the divine images of Gods, Goddesses, semi-divine sages and therefore, venerated as such for the duration of the play. In a special ceremony at the end of Ramlila, even the Maharaja offers worship to the lead swarupas. All character roles in Ramlila are performed by males. The lead roles of Rama, Sita, and his three younger brothers are performed by young brahmin boys. Emphasis is given to the inherent innocent" quality of the young male actor who plays the lead role of Rama. "The actor playing Rama must be pure, innocent and have no knowledge of sex" (Gargi 1966:99). The actors must be pious devotees, deeply involved in the roles they play. Over years, the actors receive great respect from their audiences and become identified with the character roles they have repeatedly played for many years. Temple form of Kathak, flourishing in the north Indian regions of Kashmir, Uttar Pradesh, Delhi, Rajasthan, and Bengal since the 17th century, was also dominated by male performers. Influenced by the bhakti movement, temple Kathak centered largely around the Radha-Krishna lore drawn from the Bhagavad Purana, the epics and Shiva stutis. Traditionally, a male dancer performed solo Kathak dance, incorporating all characters of the story in what is termed as "ekaharya abhinaya," meaning, a single dancer enacting a variety of characters - switching from one to another as they enter and re-enter the story - using an aesthetic combination of song, dance and rhythmic footwork to embellish his art (see Shah 1998). Parallely, Kathak also developed as a royal courtly form of entertainment where it was enriched with vigorous dance technique, intricately complex rhythmic footwork and the poetic art of depicting subtle nuances in the portrayal of various epic and mythical characters. Pandit Bindadin Maharaj, an ardent devotee of Sri Krishna and a court dancer in the employ of Nawab Wajid Ali Shah of Avadh popularized the performance of thumris - romantic songs of love and separation with reference to Sri Krishna and Radha - as a highlight of a Kathak performance. As in the temples, so in the royal courts too, the male dancer zum : y. 24, vis 3-8, zuszi. 2004 - Hz, 2006 For Private and Personal Use Only

Page #12
Shri Mahavir Jain Aradhana Kendra dominated. Until as late as 1940s, female dancing in the north was usually relegated to the courtesans and nachwalis who specialized in the art of dance, music and poetry. Their artistry varied in many ways depending on their status ranging from those who entertained the royal, courtly and aristocratic gentry to those who performed for the commoners. Traditionally, the courtesans who entertained the royal and aristocratic men, were trained in Kathak by male court dancers. In spite of the virtuosic artistic capabilities of the nachwalis, their dance was considered socially less respectable as their performance was geared towards entertainment of mortal men. Public dance performance was absolutely a taboo for respectable grihastha women in north Indian society. Several other non-brahmanic forms of artistic performance identified as the "people's theatre," also developed during the late bhakti period, categorically fall in the all-male genre of performance, namely, the Chhau dances of Bihar, Bengal and Orissa; Yakshagana of Karnataka; Yatra of Bengal; and the Nautanki of Rajasthan, Uttar Pradesh and Punjab. In each of these forms, female roles have been traditionally performed by men. Majority of the forms of people's theatre all over India, regardless of their secular nature of performance, were directly or indirectly influenced by the bhakti movement and its devotional fervor. The "sacred" and the "secular" became intrinsically and inseparably inter-woven such that the portrayal of one was qualified by the nature of the other and vise versa: Chhau dance forms developed around the 18 and 19th centuries in the regions bordering Bihar, Bengal and Orissa as a celebration of the Chaitra parva or the Spring festival. Seraikella Chhau of Bihar was traditionally performed by men from royal families, while Mayurbhanj Chhau of Orissa and Purulia Chhau of Bengal continued to be performed by male artists from different castes trained in the art. All Chhau dances are martial in their approach to dance movements, themes, music, and costumes. Using martial weapons such as the swords, shields, sticks and clubs, Chhau is essentially the glorification of the veer rasa or the "heroic," focusing either on heroic Epic characters, or mythic beings, animals, birds, aspects of nature, or simply, a heroic mood, state of being, or condition. Chhau is conspicuously a male dominated art form. These dances are dedicated in honour of Shiva and Parvati, although martial themes and selected war-time episodes from Indian mythology and the Vaishnava Epics, Mahabharata and Ramayana, are also enacted. Male practitioners train and perform the heroic and forceful tandava as well as the soft and graceful lasya aspects of the dance. Female roles were traditionally performed by men. Yakshagana of Karnataka revels in temple worship and ritual performance using themes from the Epics. It is an all-male dance-theatre where the bhagawatar plays the lead role as the ritualist, singer, dancer and actor, connecting all elements of the drama together. Heroic themes depicting valor and battle scenes are more common although, lasya dances are also performed as a part of the ritual. There is a belief that Yatra theatre of Bengal may have emerged from the bhakti Some Issues on the Gender Politics in the Bhakti Genre of Indian... 9 For Private and Personal Use Only

Page #13
induced ecstatic singing and dancing processions of the followers of Sri Chaitanya Mahaprabhu (1485-1533). The collective chanting of the divine name, euphoric dancing, drumming and fumes of incense allowed for a trance-like state of ecstatic devotional experience for Sri Krishna devotees. Theatre critic and dramatist Balwant Gargi alternatively notes that, "Krishna's march or jatra to Mathura has been celebrated in the palas (plays), and this. heart-rending separation became the favorite theme of singers and players. Later, any pala about Krishna's life or about any other mythological hero was called Jatra" (1966:14). Chaitanya Mahaprabhu himself played the lead role of Rukhmini in his play, Rukmini Haran giving special emphasis on glorifying her feminine charms. According to Balwant Gargi, this was the first historically known performance of Bengali Jatra (1966:15). A unique feature introduced in Yatra during the early decades of the twentieth century, is the abstract. role of "vivek," literally, the "conscience." Played by a male, the "conscience" had the freedom to appear and reappear at any significant time in the play, providing critical and philosophical comments, warnings and moral guidance in response to the characters' thoughts, words and actions. The "conscience" also represented the alter-ego of the character if the situation so demanded. After having acquired a very popular religious appeal, Yatra encompassed themes pertaining to Rama, Shiva, and Chandi worship and during the British rule, Yatra also posed as a political theatre. Female roles continued to be performed by men. Nautanki, mostly performed in the northern regions of Rajasthan, Uttar Pradesh and Punjab is a balladic form of performance, eulogizing Gods and Goddesses, historical or religious heroes, and celebrating social romances as well. Most Nautanki plays centre around the romantic legend of Princess Nautanki of Multan. Female roles, usually over stylized with bawdy and lusty dancing, were traditionally performed by men. 10 Acharya Shri Kailassagarsuri Gyanmandir There are two significant exceptions to the all-male bhakti forms of dance theatre. Manipuri dance including the Rasa Lila of Manipur and Kudiattam dance-theatre of Kerala are rare exceptions where female dancers have traditionally participated. Traditional Manipuri dance cultures, including the Lai Haraoba, elaborate ritual trance dances of the (pre-Vaishnava) Meithei community, were fairly egalitarian and welcomed male as well as female participants into this devotional dance. Vaishnavism was accepted as the state religion in Manipur during the early decades of the 18th century, giving rise to a variety of Rasa Lila dances. Highly influenced by Bengal Vaishnavism, devotional songs of Vaishnava poets like Chaitanya, Jayadeva, Chandidas and Vidyapati gained prominence in Manipuri artistic performances. In spite of the imposition of Bengal Vaishnavism in Manipur, Manipuri women continued to enjoy their ancient cultural tradition of an active participation in the religious dance performances, namely the Rasa dances and the Jagoi. Similarly, Kudiattam of Kerala, developed around the 11 century, is a very specialized form of Sanskrit theatre performed by the Chakiars. Unlike other bhakti forms of dance-theatre later developed in Kerala, female character roles in Kudiattam were usually performed by the Nangiar, a female temple ritualist. Until the 1930s, Sadir or Dasiattam, the temple ritual dance performed by the sAmIpya : pu, 25, aMka 3-4, okTo. 2008 mArca, 2009 For Private and Personal Use Only -

Page #14
devadasis of Tamil Nadu was the only female genre of specialized performance dedicated as an offering to the God.10 Upper caste grihastha women in southern India were even forbidden to watch a devadasi dance until the 1930s when E. Krishna Iyer, a lawyer and member of the Madras Music Academy with the help of Rukhmini Devi, made laudable efforts to restore a respectful social status to upper class women's participation in artistic dance. Divine female principle eulogized in the Vaishnavite literature and bhakti genre of dance-theatre : As we have seen above, the divine female principle,' or sakti, is eulogized in all the above mentioned all-male bhakti forms of dance-theatre which emerged during the period of 16th through the 19th centuries. The elaborate enactment of madhura bhakti through the art of female impersonation acquired centrality in the devotional performance practice of the male actor-devotees: the omnipotence of both Shiva and Vishnu is shared by their consorts and identified with the great cosmic sakti, the creative energy that sets and perpetuates the universe in motion. A dominant Vaishnavite theory, believed to be derived from the ShivaSakti concept, regards Radha as "Krishna's hladini shaktill or 'blissful energy,' a polar principle within, and not different from, Himself. In order to taste with fuller rapture the bliss of his own nature, Krishna creates his hladini shakti and enjoys, as lover, communion with himself in this form" (Hein 1972). "Hladini Sakti is the Bhagawat's energy of infinite bliss, by which he is bliss itself, becomes blissful and also causes in the devotee pure bliss. ... By this sakti also, he has the power of communicating atoms of this infinite bliss to his Associates (Parsadas) and his Devotees (Bhaktas)" (De 1961:280). The sixteenth century Vaisnava sects, most particularly the Bengal Vaishnavism, propagated that the ultimate experience of this divine bliss can be sought by way of madhura bhakti, "a kind of erotic mysticism, which seeks to express religious ideas in the intimate language of earthly passion, for it conceives divine love as a reflex of human emotion" (De 1961:281). Radha, in her role as the energizing force of Krishna, "not only bears the world-seed as his sakti, she also activates his desire to create, ... for she is his iccha-sakti (power of desire)" (Brown 1982:68). While the Vaishnava and the Shaiva sects conceptualize sakti as a complementary principle of their respective deities, Vishnu and Shiva, the Shakta theology (leaning towards Tantrism) however, recognizes sakti as the independent Great Goddess and as the ultimate reality and the totality of all existence manifest in both its creative as well as destructive forms. She "creates all from out of and within the very self. She is prakriti, material nature, as well as the abstract qualities, or gunas, that provide shape to that substance. Thus for those who see ultimate reality as creative potency, the ultimate is reality ultimate - and really feminine" (Humes 1997:45). Among the vast corpus of Vaishnavite bhakti literature most commonly used in the above mentioned dance-theatre performances, the primacy of Radha's amorous relationship Some Issues on the Gender Politics in the Bhakti Genre of Indian... 11 For Private and Personal Use Only

Page #15
with her cosmic lover Krishna is eulogized: Jayadeva's 12th century epic poem Gitagovinda portrays Radha's passionate triumph over Sri Krishna who is simultaneously the subject and the object of worship. Krishna remembers Radha with the same kind of sensuality that she does for him; he suffers the pangs of separation from Radha just the same way that she suffers for him; he is just as vulnerable to her irresistible power of loving devotion as she is to his. Krishna, the embodiment of divine love, becomes the object pinning for Radha's love. Throughout the Gitagovinda, Radha is depicted as the heroine who enjoys dominance in the divine relationship; her lover is in her power." "Their parallel emotional states and fantasies express the emotional dependence that binds them into a dual divinity whose nature compromises Krishna's manly dominance" (Miller 1982:25). Forgive me now! I won't do this to you again! Give me vision, beautiful Radha! 12 I burn with passion of love. Damn me! My wanton ways Made her leave me in anger (3:9) (Miller 1977:83) Acharya Shri Kailassagarsuri Gyanmandir Offer your lips' nectar to revive a dying slave, Radha! His obsessed mind and listless body burn in love's desolation. Narayana is faithful to you now. Love me, Radhika! (12:6) (Miller 1977:123). Jayadeva imagines Krishna to be vulnerable to pure devotion as exemplified in his Gitagovinda; Vaishnava literature often illustrates that Krishna is just as lured by the love of his devotees as they are towards him and reciprocates in passionate ways. In the devotional songs of the bhakti saints, namely, Vidyapati of Mithila, Candidas of Bengal, Surdasa and others, Radha is exalted as the epitome of divine love. The 16 century theologian Rupa Goswami characterizes Radha as the supreme model of devotion to Krishna as she is in a perpetual state of yearning for God. Radha therefore, as the quintessence of devotion becomes the paradigm of a devotee's love for God. Male members of the Sakhi Bhava sect of Vaishnavism, more prevalent in Vraja, Bengal, and Rajasthan, dress themselves as women in imitation of gopis as a regular part of their devotional sadhana or penance to Sri Krishna. "It is an extreme attempt to identify with the true inner and essential nature (siddha swarupa) which is usually conceived of as a female gopi. It is a typical effort on the part of some practitioners to transform the identity from its location in the ordinary body to the ultimately real body as revealed by the guru, and thereby inhabit the mystical world of Vraja. As Stanislavsky has taught us, outer physical acts lead to inner world of a character" (Haberman 1988: 137-38). Radha is one with Krishna in the sphere of the divine and at the same time, at par with the milkmaids (gopis) of Vraja in the earthly sphere. In the enactment of and identification with Radha as both divine and human, Krishna in his sAmIpya : pu. 25, aMka 3-4, okTo. 2008 mArca, 2009 For Private and Personal Use Only

Page #16
emotional aspect, madhurya, is rendered accessible to his devotees. In sum, Radha, as the embodiment of bhakti, devotional love, becomes the supreme model for religious realization. In the conceptualization and performance of the dance-theatre forms of the bhakti movement, the male actor-devotees were encouraged and privileged to glorify sakti through the enactment of female impersonation and yet, devotionally inspired women who by their very nature are sakti swarupa, were deprived from participation in the artistic genres that the movement itself ardently sought to develop and mature. Female impersonation in traditional Indian dance-theatre : Bhakti philosophy, according to certain sects, propagated the perception of Krishna as the only Male principle and a passionate amorous relationship with him as the ideal experience of divine bliss. In this sense, the proper attitude of an ideal devotee would be to assume the identity of the gopi in relation to Krishna as we have observed in several forms of performance mentioned above. Bhakti theologians built upon an already prevailing notion that the human body, regardless of its sex, contains both the male and the female principles defined as purusa and prakriti respectively, perceived not as opposing forces but rather as complementing each other. It would be imperative for a seeker of divine bliss that a balanced unity between the two principles is achieved. In the scholarship published so far, discussions are centered mostly around the inale devotee's transformation of the self- "identifying with the female" - as an ideal practice towards arousing passionate devotion to God. Dimock explains the notion of "identification with the female" in its religious dimension: If one has an over-abundance of purusa in his system, . . . he has, so to speak, to raise the concentration of his prakriti to equal that of his purusa; it seems that to gain the equilibrium within the self, equal halves are needed to make the whole. Thus: "having abandoned his male body, he becomes the prakritiswarupa. Know therefore the swarupa of Radha; it can be known within the heart. . . . When one is purified, kama [erotic desire] no longer remains" (1966:160-61). Bhakti theology also maintained that the senses of the body were to be controlled and directed in positive ways. The methods of achieving this control resorted not to means of denial but rather, to modes of transformation; most troubling temptations of passion and desire were to be channelized in order to heighten one's devotion for God, that is, transforming kama, human desire, into prema, the selfless love for God. "Worship is pleasing to Krishna only if the worshiper, like the gopi, has no thought of self. In such a case, the worshipper gets his reward from Krishna's pleasure; the bhakta's joy increases as Krishna's pleasure grows. This selfless attitude of love is prema. ... The classical example of prema is that of the gopis and especially of Radha. The gopis were willing to sacrifice their position in society, their homes and families, their chastity, in the extremity of their love for Krishna. The gopis longed for Krishna, but their desire was a desire to Some Issues on the Gender Politics in the Bhakti Genre of Indian... 13 For Private and Personal Use Only

Page #17
satisfy Him (not themselves] (Dimock 1966:161-62). The enactment of this "identification with the female" became central to the performance of the bhakti genre of dance-theatre. Chaitanya Mahaprabhu, Siddhendra Yogi (Natya Mela/Kuchipudi), Sankaradeva (Ankia Nat, Sattriya) and his disciple Madhavadeva as well as other founders of the regional dance-theatre forms expounded female impersonation as one of the prominent means of transformation in preparing the aspirant to the reception of the divine. With the spread of Vaishnavism throughout India and the popularity of the religious concept of madhura bhakti, the notion of female impersonation became aestheticized through descriptive imagination of both literary and religious poets, artists, theologians, saints and performers alike. With the exception of Kathak dance, where the "female" and the "feminine" are developed entirely through the art of abhinaya or "acting," and not through the extraneous trappings of gender, female impersonation in most of the other forms discussed above use both external as well as the abhinaya aspects of the theatrical aesthetic. Fully aware that the actor playing the female role is actually a male, the audiences reveled in his presentation of a "fantasized" notion of the "female," with exaggerated qualities that no real woman could portray. Undoubtedly, the portrayal of "femininity" was defined through the male perspective, not with women as they really are but as men would imagine them to be. Thus, the impersonator's presentation of the "feminine," became an aesthetic basis for "female" representation enjoyed by the audiences such that the twentieth century female actresses and dancers could neither emulate nor compete with. The audience assumption that male actors/ artists are better qualified in artistically portraying the feminine than do real female actresses is supported with the belief that real women tend to exploit their natural sexuality and while appearing too natural, they compromise on the aesthetic value of female character portrayal. In a discussion on the aesthetics of acting, Balwant Gargi quotes the director Surya Dutta, who has spent several decades producing Jatra, "When a man acts as a woman it is art!" (1966:23) Ideals of the femininity in the traditional brahmanic context would vary from region to region, however, its depiction in the epics, legends and other literature would entail qualities of gentleness, docility, sympathy, tenderness, and utmost obedience beyond doubt. An ideal woman was to be a model of selflessness, willing to sacrifice her personal wishes and rights in the interest and well being of her larger family, her husband and children. Pativrata means that as the custodian of her family honour, chastity and loyalty to her husband were of utmost importance. Ideal wives were to be loyal to their husbands while not expecting reciprocity at any level. Her husband would be the one and the only man she would submit to in her life time never to think of another even in her dreams. Should the honour of her family or the valor of her husband happen to be at stake, she would not even blink before sacrificing her life. The female impersonator in these traditional dance-theatre forms neither imitated the Huil : y. 24, vis 3-8, zsel. 2006 - Hizi, 2006 For Private and Personal Use Only

Page #18
"real" woman nor had the intention of portraying a heightened abstraction of "femininity." There was, at once, an attempt to create the desired effect with over exaggeration and an extreme effort to display a heightened sense of the minutest nuances of feminine behaviour. One would observe a range or levels of sophistication in the presentation of the female: little boy-actors dressed in colourful silk-brocade saris, heavy jewellery and bridal make-up performing the Gotipua nritya and Rasalila, are too immature to fully comprehend the gender connotations of the roles they play, whereas, the matured Kuchipudi actor-dancers on the other end of the spectrum developed and mastered a highly intricate art of portraying the feminine in its glorious and minutest detail. In some other forms though, one cannot fail to notice a sense of abandon where gender consciousness is not a major issue, for instance, where a Ramlila actor plays multiple roles requiring quick dress changes, there would be little concern over the fact that his mustache is showing through the veil he has flung over his head! The 'symbolism' of the veil adequately conveys to the knowing audience, the relevant meaning and reference to the context. The art of female impersonation thrived as late as the 1940s in Indian dancetheatre." Some of the leading actors during the first half of the 20th century were renowned and awarded for their artistry in female impersonation: Bal Gandharva was renowned for his portrayal of female roles in the Marathi theatre; Jayashankar Sundari was named "Sundari," the beautiful one, for the feminine beauty he flaunted in the Gujarati theatre; 'Padmashri' Sthanam Narasimharao of Andhra was envied by women for the feminine charm he sported on stage; and Kuchipudi bhagavatars Vempatti Venkatanarayana, Chinta Venkataratnam and Lakshminarayana Sastry were renowned for their female impersonation in the role of Sri Krishna's queen, Satyabhama. Kuchipudi dance guru, C. R. Acharya, notes that Venkataratnam was honoured with the title of 'Satyabhama' and Vempatti Venkatanarayana with the title of 'Abhinava Satyabhama' (1992:26) for their unsurpassed expertise in portraying this role. The famous Uday Shankar has also been recorded for having danced The Rajput Bride in Europe during the carly decades of the twentieth century. To these actors, female impersonation meant achieving perfection in the art of transformation. While bhakti modes of performance glorified the specialized art of female. impersonation by male actors, the late 19th and early 20th century saw a round about turn under the British rule. The colonization of the Indian mind by the imperial administration was so subtle and yet so deep rooted in the Indian psyche that implanted notions of colonial supremacy were her to stay. The onslaught of Victorian ethics, beliefs, values, morals and fashions, during the 19th century, influenced Indian society with Eurocentric notions of masculinity. As in Europe so too in India, 'masculinity' became redefined with physical attributes of muscle power, a tall well toned body, and a confident look in the eyes. Over time, female impersonation in Indian dance and theatre came to be associated with effeminacy and hence, perceived as less manly. By the mid-20th century, some of the brahmin gurus overtly conscious of this cultural perception, decided to initiate changes in the all-male dance Some Issues on the Gender Politics in the Bhakti Genre of Indian... For Private and Personal Use Only 15

Page #19
traditions (see Pattabhiraman 1988-89). Even though women were forbidden training in the Natya Mela of Andhra, some Kuchipudi brahmins set out to teach female disciples. Years later, Kuchipudi guru Vedantam Lakshmi Narayana Sastry (1880-1957) developed a solo style more suitable for female dancers, integrating Kuchipudi with the repertoire performed by the kalavanthulu, female temple ritual dancers of Andhra. Furthermore, Guru Vempatti Chinna Satyam further modernized the form in the 1950s. "It was only after its modernization that Kuchipudi was awarded its "classical" status by the Sangeet Natak Akademi, New Delhi. With the classicisation of Kuchipudi, and of its nation-wide performance by upperclass urban female dancers (Shanta Rao, Shobha Naidu, and Swapnasundari), the popularity of the original Natya Mela (dance-drama) tradition pursued by the male bhagvatulus faded gradually" (Shah 2002). Transformations in the notions of gender during the first half of the 20th century: The women's liberation project in late 19 and 20th century India was directly and intricately connected to nationalism. A unique feature of the women's liberation in India is that leading male nationalists pioneered the social reform: Raja Ram Mohan Roy and Keshabchandra Sen promoted the cause of women's and the girl child's education. In the religious sphere also, leading religious leaders initiated and appointed women ascetics as their successors. Arya Samaj leaders reformed the prevailing situation by educating young girls in the recitation of Vedic mantras. Nancy Falk noted that, "women have been commandeered to advance the nation, to preserve the nation, to free the nation, to construct the nation" (1995:300). And there has been no looking back since. The nationalist movements against the British rule and the eventual independence from colonialism necessitated a resurgence of traditional Indian values on the one hand and a socio-cultural reformation on the other (see Sen 1979). As a result, during the first half of the twentieth century, performing arts in India witnessed momentous transformations the most significant one being the introduction of upper caste (mostly brahmin) women in dancetheatre forms performed on the proscenium stage and the restoration of a respectable status for both the traditional arts and the artists in the formation of a renewed Indian identity. Several factors consequenced a transgressive endeavor on the part of elite brahmin women in attempting to perform artistic dance on the public stage: firstly, the social movement for abolition of the Devadasi system of temple ritual performance in the South (from 1880s to 1947) (see Srinivasan 1985, 1984, 1983; Kersonboom-Story 1987; Jorden 1989; Khokar 1987; Marglin 1985; Parker 1997); secondly, the popularization of Indian dance in Europe and the Americas by American Modem dancers Ruth St. Denis, Ted Shawn, ballerina Anna Pavlova and her trainees, La Franchi sisters, followed by Uday Shankar and Ram Gopal during the period 1905-1940s; thirdly, American dancers Ruth St. Denis and Ted Shawn's elaborate performance tour in India (1925-26) reinventing Indian dance as they perceived it; and lastly, the passionate aspirations of several Euro-American dancers to train in Indian dance after the 1930s Russell Meriwether Hughes (popularly known as "La Meri"), French dancers mArca, 2009 16 sAmIpsa : pu. 25, aMka 3-4, okTo. 2008 - For Private and Personal Use Only

Page #20
Simone Barbier (Simkie) and Nyota Inyoka, American dancer Esther Sherman (popularly known as Ragini Devi), Australian ballerina Louise Lightfoot, followed by many others (see Khokar 1985). The Euro-American dancers, with their untiring passion for training in Indian dance during the early decades of the 20th century opened new avenues and set the pace for female participation in the classic dances in India. Ironically, American dancer Esther Sherman or 'Ragini Devi' as she was called, was one of the earliest non-Indian females to gain admission for training in Kathakali in spite of the conservative stance taken by Kerala Kalamandalam against the inclusion of women in their troupes. In 1932, the same institution. also commenced training in Mohiniattam, reviving a female dance form of the region. In Kolkatta, noted poet laureate Rabindranath Tagore introduced Manipuri and Ram Lila dances. inspiring female students at Shantiniketan, an institution renowned for reviving Indian cultural values and for its focus on artistic excellence. His Bengali poems and plays also restored the respectable status of dance in drama and the society at large. At a time when female dancing in Kathak was relegated to the social disrepute of courtesans and "nautch" dancing girls, Leila Sokhey, educated in Britain, was the earliest upper caste female to dare train in this form. Taking the stage name, 'Menaka,' she choreographed several dance-dramas encouraging north Indian women from upper caste families to perform on the public stage with elegance and dignity. She was the first upper caste female Indian dancer to have been honored with awards at the 1936 Dance Olympiad in Berlin (see Joshi 1989). In the midst of a pan-Indian movement proposing the abolition of the devadasi system,14 a courageous brahmin lawyer of Madras, E. Krishna Iyer took a bold decision to stage the refined traditional dance of a devadasi duo, the Kalyani sisters, at the Madras Music Academy, one of the most elite institutions, the membership of which listed the cream of the Madras brahmin society. His initiation inspired Rukhmini Devi Arundale (1904-1986), also a brahmin lady, to become a key figure in encouraging upper caste women to train and perform artistic dance as an expression of their devotion to God (see Ramnarayan 1984). In 1936, Rukhmini Devi founded the Kalakshetra, which has produced, since, some of the best known Bharatanatyam dancers in India. Following the footsteps of the Kalyani sisters, few selected devadasis, namely, T. Balasaswati, Varalakshmi, Bhanumati and others, ventured to take to the stage, intensely promoting the inherent "purity" and the devotional aspects of their traditional dance. Nevertheless, with the legal abolition of the Devadasi system of temple dancing in Madras Presidency in 1947, Sadir, Dasiattam or the dance of the devadasi came to be associated with disgrace and survived only on the peripheral margins of the society. The popularity of the newly revived dance, Bharatanatyam, threatened the survival of its own precursor, the all-male Bhagavata Mela Natakam of Tamil Nadu (see Shah 2002; 2003). Such nationalist reforms obligated a transference of the artistic dance from the realm of the devadasi to that of the upper caste society women; from the precincts of the temple to that Some Issues on the Gender Politics in the Bhakti Genre of Indian... For Private and Personal Use Only 17

Page #21
of the proscenium theatre; and from the monopoly of the male dancers to the popularity of the female performers. Acharya Shri Kailassagarsuri Gyanmandir The Sangeet Natak Akademi, New Delhi, founded in 1952 with an aim to disseminate traditional Indian arts and culture founded and formalized training institutions in the arts all over India, thus, enticing female aspirants in the field of dance, music, drama, and the visual and literary arts as well. With the rise in feminist awareness, women sought to specialize in the arts not necessarily with a career in mind but also as a part of one's physical disciplining, graceful co-ordination and enhancement of one's sense of self. Not quite surprisingly then, majority of the trainees in dance and theatre schools as well as emerging star dance performers since the mid-20" century have been usually female. Gurus however, continued to be predominantly male. Since their inception, the National Academies have sponsored large number of music, dance and theatre festivals all over the country. Opportunities to perform for the Indian national festivals as well as international festivals of India abroad gave boost to women taking to artistic dance for a career. 18 Although dancing by women from respectable families continues to be perceived with reservations in northern India, Kathak Kendras or training institutions thriving all over the north have graduated more female than male dancers since the 1950s. Several renowned female Kathak dancers, namely Madame Menaka, Damyanti Joshi, Roshan Kumari, Rohini Bhatt, Kumudini Lakhia, Maya Rao, Urmila Nayar, Uma Sharma and many others have commanded the professional stage since the 1940s and 50s and founded Kathak dance training institutions in their respective regions. As a pioneer in modernizing Kathak dance, Kumudini Lakhia recreated and enhanced the dance technique and its aesthetics of presentation in a ground-breaking modern framework (see Shah 2008). While remaining faithful to the classic vocabulary of Kathak, Kumudini Lakhia ventured, well ahead of her time, to break up the units of movement and reconfigure them into newer, modern and more secular modes of presentation that reflect the global influences of our time and the enhanced confident personality of the modern Indian woman as well. Later generations of female dancers also continued to bring a contemporary sensibility to the traditional Kathak dance form presenting themes ranging from the traditional to those with contemporary social and political relevance: some dancers prefer to retain the traditional Kathak technique as their basis, others have experimented in introducing Sufi traditions in Kathak and pursued collaborative experiments with Euro-American rhythmic forms of dance, namely, the Flamenco, Tap dance and such. Aspired by the new phase of artistic revivals during the mid-1950s, a group of male gurus from Orissa took up the painstaking effort to reconstruct the dance of Orissa, now known as Odissi: 5 The Natyasastra, a treatise on Indian dramaturgy, speculated to have been written between 200 BC and 200 AD, makes a mention of Odra Maghadhi as one of the four prominent marga" or classic styles of performance prevalent in the region of Orissa during that time, however, not much is known about these ancient dance styles anymore. Moreover, by early twentieth century, the ritual dances performed by the mahari"? sAmIpya : pu. 25, aMka 3-4, okTo. 2008 - mArca, 2009 For Private and Personal Use Only

Page #22
in Orissa temples had also faded away as a result of the defamation and the eventual imposition of the Abolition of the Devadasi Act in 1947; the entire repertoire of Orissa dance during the mid-1950s comprised of no more than 15 minutes (see Patnaik 1990). During the mid-1950s, each of the gurus contributed towards the collaborative reconstruction of the dance, amalgamating different elements drawing from their own knowledge and experience as gotipua dancers, from a corpus of Sanskrit and vernacular dance and music texts, the iconographic representations of the ancient Orissan temple sculptures and inscriptions, and from the remnants of the mahari's ritual dance. In the mid-1960s, the Sangeet Natak Akademi, New Delhi recognized the newly reconstructed Odissi dance as one of the classical" dance forms of India. Credit goes to the virtuosity of the Odissi dancer, Sanjukta Panigrahi, also a brahmin lady, in taking Odissi to the national as well as the international stage. While majority of professional dancers in Odissi tend to be female, the gurus continue to be largely male. The liberalization is somewhat slower in Kerala. In Kerala Kalamandalam, male and female students are now allowed to study Ottam Thullal, which, at one time was known as "the poor man's Kathakali" performed only by men. Kalamandalam received substantial government scholarships for training and was obliged to open up admission to interested girls only due to lack of enrollment by young boys. Women, however, continue to be restricted in the traditional male world of Kathakali of Kerala. Adventurously, "In 1975, a group of skilled young women (including members of the Cochin royal family and descendents of the erstwhile maharajas of central Kerala) formed an all-female Kathakali troupe, the Tripunithura Kathakali Kendram Ladies Troupe (TKK).8 Today, 15 active members (of this troupe) perform regularly in Southern Kerala" (Daugherty and Pitkow 1991:138) and have given at least 500 performances so far. Performing members of the TKK accept payment for their appearances but deliberately announce themselves as "amateurs," not "professionals" for a reason. A female Kathakali performer laments that, "having become skilled in Kathakali, a Kerala girl has few opportunities to perform. She might occasionally perform with her teacher, a male relative, or a famous actor her family has hired, so that she can share the stage with a star. But performing with men on a regular basis would expose her to lewd gossip or improper advances from drunken actors, as endured by Chavara Parukutty, the only woman to attempt to earn her living as a Kathakali performer in Kerala" (Daugherty and Pitkow 1991: 140). During the pre-modern era, the oral and performance traditions were simply the only mode of entertainment for the masses. In the era of globalization, these ancient traditions have been unable to withstand the competition and the allure that modern cinema and satellite television provide. Music, song and dance have constituted an integral part of Indian feature filins throughout its history. Melodrama, accentuated with numerous songs, danced to a heightened emotional expression are some of the most popular aspects of Indian cinema. The increasing popularity of Hindi cinema with its international music and dance appeal, the ever Some Issues on the Gender Politics in the Bhakti Genre of Indian... 19 For Private and Personal Use Only

Page #23
growing television network systems providing numerous options for domestic and foreign cable and satellite channels has compromised the socio-cultural importance once enjoyed by the ancient performance traditions in India. While the performance forms classified as "classical by the Sangeet Natak Akademi, New Delhi, enjoy relatively larger audiences and state patronage as well, those termed as "folk" traditions have suffered significant lack of patronage. Families in which particular performance traditions had passed on from generation to generation for centuries, are facing a dilemma with regards to the continuity of their family profession. Newer generations of urban and rural youth prefer to work in urbanized cities, in factories rather than in farms with an intention to make a better living for themselves and their families rather than suffer the economical inadequacies of a profession as a traditional performer. As mentioned above, women taking up to the stage in the modern era has diminished the significance once attached to female impersonation by male actors. Jatra actors for example, particularly the male actors specializing in female impersonation are facing tough competition from female actresses. Nevertheless, the leading female role continues to be performed by the male specialist as adult women have not been able to compete with the well modulated range of the boys' falsetto singing. Since the imposition of the Suppression of Immoral Traffic Act in 1959, many dancing girls from brothers in the north took to Nautanki, compromising on its religious aspects. The all-male Nautanki theatre, in some instances, however, continues to be popular with the traditional audiences. Conclusion : One may observe a remarkable disparity between the importance accorded to the artistic role played by women in classical Sanskrit drama as described in the Natyasastra, and the description of the status of women, particularly, female actor-dancers, provided in other sacred texts supposedly composed during more or less the same historical time period as the Natyasastra (200 BC - 200 AD), namely, the Dharmasastras (treatises on laws related to sacred duties), Mahabhasya of Patanjali (a commentary on the earlier Sanskrit grammar of Panini), and the Epics, Ramayana and the Mahabharata. I will first illustrate how the author of Natyasastra declares drama as sacred, then provide with the description of the status and role of women in Sanskrit drama and finally point out the unfavorable laws against women, most particularly women actors, as commanded by the Manusmriti and the Mahabhasya of Patanjali. The Natyasastra legitimizes India's cultural classicity in its meticulous delineation of a poetics of dramaturgy. The massive project of translations and publications of several Sanskrit texts undertaken by The Asiatic Society founded by Sir William Jones in 1784 in Calcutta (Kolkata) broke the brahmanic monopoly and rendered the sacred knowledge accessible to the international public at large. Natyasastra commences with the author's benediction to Gods Shiva and Brahma with claims that he narrates the canons of drama as passed on by Brahma to him. ( Ghosh 1967:1.1). The author describes himself as Bharata, a great brahmin sage and dramaturge, 20 Puh : 4.24, vis 3-8, cisal. 200C - HZ, 2006 For Private and Personal Use Only

Page #24
who, with the directive of Brahma on the suggestion of Indra, initiated drama for the entertainment of the Gods. By way of a curse inflicted on the sons of Bharata, the sacred drama was later brought to the earth by King Nahusa so that, people of all castes, including the deprived sudras may have the benefit of hearing and seeing in practice, this fifth Veda." In Chapter 1, verses 7-12, sage Bharata clarifies that Brahma selected the (pathya) recitative aspects from Rigveda, aspects of music and song from the Samaveda, the details of expressive bodily representation (abhinaya) from Yajurveda, and the usage of sentiments (rasa) from Atharvaveda, and thereby, represented in essence, all the four Vedas within the Natyaveda. It was reconciled that the natya must represent all the three worlds, the realm of the Gods, the physical world of the mortals, and the netherworld, and hence, provide a fair representation to the ideas and actions of both the Gods and the demons. With this beginning, the author of Natyasastra, at once, declares drama as a sacred act protected and blessed by the Gods, and elevates the religious/spiritual status of the drama in the form of a yagna or ritual sacrifice to be performed as an offering to the Gods. Connecting a direct lineage of drama and the dramatists to Brahma the Creator himself, the author divinises the textual work, the content, and the modes, methods and poetics of performance mentioned in it. Sanskrit theatre, the earliest origins of which are not known, may have been well established prior to the composition of the Natyasastra. From the limited sources that have survived, one can surmise that Sanskrit theatre was deeply rooted in religiosity and spirituality and yet, maintained a relatively egalitarian relationship with reference to its female participants. According to the Natyasastra, women played a significant role in theatre. Female roles in Sanskrit theatre were generally performed by women: the variety of primary female roles defined in the Natyasastra include those of the divine women (divya), queens (nrpapatni), women from a respectable family (kulastri) and the courtesan (ganika); secondary female roles include the lead heroine's close friend(s) (sakhi(s), maids (paricharika), women body guards (sancarika) or yavani (a maiden of Greek, Roman, Persian or Arab origin), women waiting on the King (anucarika), door keeper (pratihari) and so on (Gupta 1991: 92-93). The leading female actress in Sanskrit-theatre, also called the nati, was one among the senior-most members of the dramatic group. She often played the role of the Sutradhara's wife and assisted him in conducting the Prologue. The celebrated Sanskritist, V. Raghavan notes that the Mahabhasya of Patanjali provides early reference to the term "bhrukumsa," used to denote a man who impersonates a woman (1981:13). There are few references in Sanskrit drama of a male actor playing a female role, albeit at the discretion of the director, however, that was not a regular practice. Women could also act male character roles in Sanskrit theatre. "There are even records which indicate that entire companies were composed of women. Actresses were usually regarded as better suited than men to sing, but were not thought fit to participate in battle scenes, as [male] actors were regarded as better suited to depict the sentiments of heroism and rage" (Richmond 1990:37). Quite contrary to the notion later developed in the brahmanic bhakti forms of performance, Natyasastra proposed that Some Issues on the Gender Politics in the Bhakti Genre of Indian... 21 For Private and Personal Use Only

Page #25
roles deeply rooted in the sringara (romantic and/or erotic) sentiment were to be considered as the forte of women actor-dancers. Natyasastra also specifies a pre-condition that natya (drama) should be performed by women well versed in the dramatic sastra (treatise) (Gupta 1991:88); this would imply that women involved in theatre would have been required to be well versed in Sanskrit, the language of the sastras (sacred texts and treatises). In terms of the spoken language, however, Sanskrit theatre followed the brahmanic convention whereby dialogues for all female roles and clowns were written not in Sanskrit, but rather, in the vernacular or Prakrit. This, in keeping with the brahmanic norm that Sanskrit was the language for the high born; women (regardless of their upper or lower caste), stratified with a lower social status similar to that of the sudra, were not considered eligible for learning or reciting Sanskrit verses. Although the popularity of and patronage to pan-Indian Sanskrit theatre is assumed to have faded away between the gth and the 10th centuries AD, selected elements of the conventions of the ancient Sanskrit theatre continued to be adapted and practiced in many regional forms of dance-theatre in one form or another. What obviously got ruled out during the medieval and later bhakti period was female participation in artistic dance-theatre. Manusmriti (hence forth, MS), one of the texts in the Dharmasastras, makes very negative remarks about the status of the male and female actors. Manu prohibits brahmins from becoming actors. He refers to acting as the lowest means of livelihood making an assertion that actors should not be socialized with. Accusing actors as those "who habitually tell falsehoods" (Buhler 1886:163, MS IV:214), Manu forbids brahmins to accept food from the hands of the actors. Natas as the actors and singers were called, were assumed to be spies and therefore not trustworthy (Buhler 1886:406, MS X:22). Manu claims that 'trustworthy men of all (four) castes (varnas) [including sudras) may be made witnesses in lawsuits" but kusilavas or actors, dancers and singers, tainted by moral sin, may not even qualify to be witnesses in a court of law; their testimony was not considered valid (Buhler 1886:265, MS VIII:63-65). Conversing or socializing with another's wife was forbidden for all adult men; "the rule does not apply to wives of actors and singers ... for such men send their wives to others, or, concealing themselves, allow them to hold criminal intercourse" (Buhler 1886: 317, MS VIII 361-362). Gupta quotes from Visnusmrti, the law book of Vishnu, that actors were perceived as ayogava, of a mixed caste, representing a lineage from "improper and undesirable" alliances between sudras and daughters of vesyas" (1991:97). Along a similar vein, the Mahabhasya of Patanjali also denounces the actors and more particularly, the wives of actors indicating that, "women of natas mix with different persons as [do] vowels with consonants" (quoted in Gupta 1991:97). Impressions of Manusmriti are reflected in the Ramayana where an "actor, Sailusa is (mentioned) as handing over his wife to another (quoted in Gupta 1991:96). The Epic Mahabharta also projects a low social position and accords a trans-gendered status to the actor in the example of Arjuna, the Pandava prince who, while in exile, disguises as a "eunuch" dance instructor to the princess; his castrated 22 zur : y. 24, vis 3-8, viszi. 2000 - Hz, 2006 For Private and Personal Use Only

Page #26
masculinity (supposedly) casts him as a "safe" association for the young princess. The Arthasastra makes reference to kusilavas in connection with the profession of singing and dancing, describing them as sudras. It decrees that the singers, dancers, actors, and story-tellers as well as their playhouses be banished from the villages lest their influence hinder the life of the people (Gupta 1991:96). This reference brings us back to the last chapter of the Natyasastra, where the author confesses how actors on earth came to be condemned as sudras: The sons of Bharata were well versed with the knowledge of the Natyaveda. But in time, they lost their sense of purpose, and produced a play in which the great sages were caricatured in unacceptable ways. The holy sages realized that arrogance (avinaya) and a false sense of pride had come upon the sons of Bharata. They became furious and cursed these actors to be born as sudras on earth. The Gods intervened and pleaded to the sages to revoke their curse so that the sacred art of drama as devised by Brahma may not perish with the fallen sons of Bharata. The sages blessed that the drama will not perish. Bharata convinced his actor sons to produce drama on earth and promised that their action would be rewarded eventually, "I shall make an end of your curse and you will no longer be despised by brahmins and kings" (Ghosh 1967: NS XXXVI, 64-67). It is unclear to what extent the Laws of Manu were inculcated in actual practice. But their impressions are, nevertheless, seen represented in all aspects of social practice, including the oral and performative traditions, which in turn impressed upon the sociopsychological understandings of the people. Vasudha Narayan argues in her essay, "Women of Power in the Hindu Tradition" that the text, Manusmriti, has been over cited and claims that where as Manusmriti enjoyed limited reading, utilization and social application among the Sanskrit literate upper class only, the large part of the masses were governed by their own customs and practices based on local regional norms (1999:34). She, however, misses the point that the mythologies of the Puranas, stories from the Bhagavad Purana, the Epics, Ramayana and Mahabharta, and various local legends which deeply permeated the vast variety of oral and performative traditions followed by the masses, greatly reflected the socio-cultural gender ideologies set by Manusmriti, Dharma Sastras and the like. Oral and performative traditions have permeated the social, cultural and religious fabric of Indian societies all through known history, becoming important tools for the education of social and moral values, of history, of religion, of hierarchy, of gender ideology and more. Children have been exposed to these performance traditions very early in life and grow up being impressed upon, mentally, visually, and psychologically, by the social ideologies passed on by these oral traditions through centuries of numerous generations. Moreover, brahmanic and kshatriya religious norms and societal codes of honour were emulated largely by the socially upward bound castes with a yearning and expectation to be accepted and respected by the upper class. Bhakti theories advocating the performance of female impersonation as pathway to the union with God, sought to devalue similar possibilities for women. Female impersonation Some Issues on the Gender Politics in the Bhakti Genre of Indian... For Private and Personal Use Only 23

Page #27
languished upon the heightened sense of mystique, exaggeration, captivating drama, charismatic embellishments, enchanting techniques of portrayal, and magical reversal of role playing, which according to reception theories, women playing female roles were unable to compete with. The exclusion of women in artistic performances also reflected the brahmanical patriarchal stance whereby women were perceived as "polluted" by their association with blood and menstruation; they were considered "impure" during child birth, and often branded as "dangerous," feared for their sexual power and procreative energy. As an ardent brahmin devotee of Krishna, Chaitanya Mahaprabhu commanded a vast magnitude of following in Bengal, Orissa and Vraja and influenced the spread of Vaishnavism all over India during and after his life time so much so that his followers divinised him as an avatar of Radha-Krishna united in one body. "He was Krishna internally and Radha externally" (Dimock 1966:32). Despite his belief that men from all castes deserve the right to achieve God's love, "he saw women as at least, distracting, at most deluding, and not at all as personifications of Radha" (Dimock 1966:45). He was a determined celibate and demanded the same expectations from his followers. Dimock quotes Chaitanya from the Chaitanya-charitamrita of Krishna-dasa, "Prabhu said - I can never again look upon the face of an ascetic who has had anything to do with a woman. The senses are week and are attracted toward worldly things; even a wooden image of woman can steal the mind of a sage, ... Those false ascetics are contemptible. Conversation with women deludes the fickle senses. ... One who consorts with women is immoral and is opposed to Krishna bhakti" (Dimock 1966:45). This prejudice against women reflected the larger brahmanical point of view deeply permeated into the patriarchal structure of the Indian society at that time. When it was possible to accept the sudras into the bhakti fold, women had no place in it, which means, that women, regardless of their caste status, were considered even lower than the lowest in the society. Several texts refer to female sexuality as dangerous and hence the insistence of distancing oneself from women. One can argue that ascetism is about "overcoming" the weakness of the senses and the fickleness of the mind. Maintaining a disciplined control of ones senses while living in the midst of all worldly temptations is the true and highest test against temptations. Shunning any and all contact of womenkind for a devotee would only lead to "escapism," counterfeiting true "ascetism." True ascetism is a state of realization and acceptance of reality as it IS; a state of being where one is 'detached to worldly attractions and temptations while living in the midst of it. Conversations between thankurani Krishnapriya and Rupa Kaviraja mentioned in the text, Narottama-vilasa, suggest that the Vaishnava brahmanic authority during this time period denounced the presence of women at religious readings. The Dharmasastras also forbade women from chanting certain mantras meant exclusively for upper caste men (see Humes 1997). Women's religious writings were also censored doubting their capability to author. Bengal Vaishnavism, particularly, is defined by male authors. Norwin Hein asserts that, "the creators of "Radha theology" as of every 24 zuHlu : y. 24, zis 3-8, sulsel. 2000 - Hz, 2006 For Private and Personal Use Only

Page #28
Indian theology are all men despite their conception of themselves as gopis devoted to Krishna" (1982:117). Drawing from the two texts, Bhaktiratnakara and Chaitanyacharitamrta, Dimock compiles a list of 67 names of the followers and authors of various texts on Bengal Vaisnavism. Each of the names referenced are of men. Hence, these theologies reflect only the point of view of men. Bhakti theologies distinctly spelled out that devotees take on a female personae and relate in a manner that is feminine (passive) towards a male God. Attributes considered to be the privilege of men, such as, egoism, arrogance, power and pride were considered detriments to devotion and achievement of union with God. According to this religious viewpoint, then, it was essential, that male devotees relearn to be humble, to be subservient, passive, yearning and devoted. A.K. Ramanujan acknowledges that the social repression of women already cast them in a humble position such that "it is as if, being already female, she has no need to change anything to turn towards God. Like the untouchable and low caste saint, she need shed nothing, for she has nothing to shed: neither physical prowess, nor social power, not punditry, nor even spiritual pride. She is already where she needs to be" (1982:324). It is important to clarify that the repression of women was most pronounced among the upper castes (brahmin and the kshatriya or warrior castes); women from the low castes enjoyed relatively more freedom, economic and social, compared to their upper caste counterparts. Over centuries, bhakti had become a very complex religious phenomenon. It had branched out into several cults and region specific practices. There were the vernacular strands of bhakti practiced by the commoners, and the orthodox strands of Sanskritik bhakti practiced by the brahmins. Bhakti also leaned towards Shaivism and Shakta practice. Contrarily to Vaishnava and Shaiva brahinanism, the Goddess cults, particularly, Tantra or the Shakta practices demonstrate "a reverential attitude towards women stemming from the belief in the presence of divinity in women and in attainment of the ultimate state by methods of ritual union"(Dimock 1966: 45).20 According to Tantra, women are not only eligible to receive and recite the mantras but also have the permission to give the mantra as a guru (Dimock 1966:98). Concluding on a positive note, we do come across some instances in ancient texts where male and female dancer-actors are mentioned to have been honoured by royal kings and princes with extravagant awards for their virtuoso performances. The Sanskrit play Malvikagnimitra, written by the revered Kalidasa (5th century AD) portrays the character of Malavika, a young girl belonging to the upper class, having been trained in the fine art of acting (Dwivedi 1964). Samavai, a queen of the Pallava dynasty in the South, endowed land to the famous Tirupati temple during the 10th century AD; Sembian Mahadevi, a Chola queen (10h century AD) donated towards the construction of massive temple complexes in the South. Pleased by the dance performance of the Queen Shantala Devi, the King awarded her with the title of "Natyasaraswati." Several renowned devadasis, temple ritual dancers, Some Issues on the Gender Politics in the Bhakti Genre of Indian... 25 For Private and Personal Use Only

Page #29
had been held in high esteem by the kings and richly awarded for their excellence in the art, and they in turn, made donations for the upkeep or extension of parts of the temple in which they served. Not to mention the countless number of cases where courtesans all through history have won high regard in the courts and in the aristocracy for their sensual charms, glamorous beauty, poetic eloquence, literary prowess, musical excellence and dance expertise. During early 17th century, a courtesan, Ramabhadramba, wrote a Sanskrit mahakavya or an epic poem glorifying her husband and King Raghunath of Tanjore (Narayanarao and Shulman 1989:122). While traditional genres of Indian performance continue to project the brahmanical notions of idealized gender, several contemporary women dancers and choreographers, namely Kalanidhi Narayan, Chandralekha, Kumudini Lakhia, Sonal Mansingh, Swapna Sundari, Mrinalini Sarabhai, Mallika Sarabhai, Daksha Sheth, to name a few, have opened pathways for younger generations to be able to think objectively, work independently, reflecting upon and presenting issues of contemporary social, political, and cultural concern. The neo-classical dances of India still have to go a long way to meet with the contemporary expressions of our time. Foot-Notes 1. Ashtanayika literally meaning, the eight kinds of heroines: Chapter 24 of Natyasastra (henceforth NS) describes the ashtanayika as, 1) vasakasajja: one who is dressed and adorned in anticipation of the arrival of her lover; 2) virahotkanthita: one who is distressed in separation and is longing for her lover; 3) svadhinapatika: one who has dominance over her lover, where her lover stays by her side; 4) kalahantarita: one whose relationship with her lover is estranged because of a quarrel; 5) khandita: one who is heart-broken and enraged upon discovering that her lover has been with another woman; 6) vipralabdha: one who is disappointed and frustrated that her lover did not appear for the tryst; 7) prositabhartrika: one whose lover is gone on a journey to distant lands; and 8) abhisarika: one who is love-sick, and abandons all modesty, caution and fear in order to meet with her lover in the dark of the night (Ghosh 1967; NS XXIV:210-219). See section on female impersonation in this essay for titles awarded to male Kuchipudi danceractors for their expertise in playing female roles. For example, devadasi Muddupalani's (1730-90) collection of 584 poems titled Radhika Santvanam focusing on Radha's advice to her daughter in the ways of erotic love towards Lord Krishna never saw the light of the day until late 19th century only to be censured heavily before publication, which in turn was eventually banned during the British rule (Tharu and Lalita 1991). Andal was the only woman among the twelve Alvar saints. "The title Antal as "she who rules (the lord)" was assigned to her because she achieved the closest possible relationship with Lord Vishnu" (Dehejia 1990:2). A sutradhara is the producer, director, and narrator of the play. As a master of ceremonies, he initiates the preliminary invocations to the Gods. He connects all the threads in the play by way of narrating, acting, dancing, singing, introducing the actors, commenting on the action, and 5. 26 2011 : 4. 24, bis 3-8, sai. 2006 - HZ, 2006 For Private and Personal Use Only

Page #30
Shri Mahavir Jain Aradhana Kendra 6. 7. 8. 9. imparting moral instruction as well. Finally, he recites the Mukti-Mangala Bhatima - seeking forgiveness of the Gods and the audiences for any flaws in the production and presentation of the play, and promoting the path of righteousness. Chakiars are descendents of the sutas or story-tellers, mentioned in the epic Mahabharata (Khokar 1984:97). The Chakiar was accompanied on the drum specifically by a member of the Nambiar (brahmin) caste. A Nangiar, usually, the drummer's wife played the cymbals. Kathakali performance transforms the stage into a world of Gods, super humans, demons, ogres, mythical birds and animals. By using the term "character" training, I refer to both meanings: firstly, intensity of training in "character role playing" where actors consistently. work on intensifying particular character roles they specialize in and secondly, the disciplined development of the actor's inner personal character made suitable for such an intense spiritual practice (see, Zarrilli 2000). There is a story that Tulsidas, inspired by the Sanskrit Epic Ramayana, wrote the Ramacharitamanasa in the vernacular language, enraging the brahmin pandits who immediately outcasted him. The vernacular version of the epic, nevertheless, achieved great popularity among the masses in northern India and continues to be recited to-date. 10. Historians believe that the Devadasi system of (exclusively female) temple ritual dance was a pan-Indian practice until pre-Mughal period, however, for reasons unknown, the Devadasi system survived only in the southern and probably far eastern regions of India. Very little documented information of its prevalence in the north is available to us. 11. According to Charlotte Vaudeville, "Though she [Radha] is frequently mentioned in the Indian literature, at least from the time of Hala, her emergence in the cultic and devotional sphere of Vaisnavism as Krishna Gopala's beloved and sakti is known to have taken place rather late, certainly not much earlier than the 16th century" (1982:2). 12. In Barbara Stoler Miller's view, "Radha is one of the most obscure figures in early Indian literature. Until Jayadeva made her the heroine of his poem, she appeared only in stray verses scattered through various Puranas, anthologies of Prakrit and Sanskrit poetry, works of literary esthetics, grammar, poetry, drama, and a few inscriptions" (1977:26). 13. Social and political situations during the 16 through the mid-20" century compelled women to withdraw into domesticity. This time period witnessed numerous invasions on India by the militant Muslim tribes followed by imperial British rule contributing to the social and political unrest, leaving the country in a constant state of war. 14. It is ironical that in 1932, the first Indian female to become a legislator and Vice-President of the Madras Legislature, Dr. Muthulakshmi Reddi, took a feminist stance in disdainfully attacking the devadasi system insisting that the institution cultivated immorality and promiscuity among young girls dedicated to the temples. It was only to the credit of the single handed and audacious effort of a male brahmin lawyer, E. Krishna Iyer, followed by Rukhmini Devi that the temple art of the devadasis, in the form of Bharatanatyam, continues to thrive today (see Khokar 1987). 15. Guru Pankaj Charan Das who hailed from a traditional Madeli family connected to the Jagannath temple in Puri, guru Kelucharan Mohapatra who was a gotipua dancer in his youth, and guru Some Issues on the Gender Politics in the Bhakti Genre of Indian... 27 For Private and Personal Use Only

Page #31
Debaprasad Das were actively involved in the reconstruction of Odissi dance. 16. Marga may be defined as a pan-Indian stylized form of dramatic performance elucidated in the ancient treatise on dramaturgy, the Natyasastra. The term desi was applied to regional forms of performance. Studies of Sanskrit and vernacular texts on dramaturgy indicate that marga and desi were not mutually exclusive; each evolved in the influence of the other through many centuries. For a detailed discussion on the problematic issues concerning these terms, see Chapter VI, Shah 2000. 17. Mahari is a term addressed to the female temple ritual dancers (devadasis) of Orissa. 18. Radhika Varma, a member of the Cochin royal family, is the founding member of the TKK. She was trained by Kalamandalam Krishna Nair, a great exponent of Kathakali. In Chapter I, verses 7-12, the canons of drama enunciated in the Natyasastra are referred to by other learned sages as the "Natyaveda" (Ghosh 1967), the fifth Veda comparable to the earlier four great books of knowledge -- the Rigveda, Samaveda, Yajurveda and Atharvaveda. See also, Erndl 1997, where the author states that, "the general thrust of Shakta theology is to affirm the reality, power and life force that pervades the material world. Matter itself, while always changing, is sacred and is not different from spirit. The Goddess is the totality of all existence. . . . As a mythic model for women, to look up to, the Goddess provides not just a transcendent ideal for women to look up to, but also an immanent presence in whose divinity they can participate (pg. 21). 19. Works Cited Acharya, C. R. and Mallika Sarabhai. Understanding Kuchipudi. New Delhi: Indira Gandhi National Center for the Arts in association with Darpana Academy of Performing Arts, 1992. Baumer, Rachel Van M. and James Brandon, eds. Sanskrit Drama in Performance. Honolulu: The University Press of Hawaii, 1981. Brown, C. Mackenzie. "The Theology of Radha in the Puranas." In The Divine Consort: Radha and the Goddesses of India, edited by John Stratton Hawley and Donna Marie Wulff, 57-71. Berkeley, CA: Graduate Theological Union in collaboration with New Delhi: Motilal Banarasidas Publishers, 1982. Buhler, G.. The Laws of Manu [Manusmriti). trans. Oxford: The Clarendon Press, 1886. Daugherty, Diane and Marlene Pitkow. "Who wears the Skirts in Kathakali?" TDR: A Journal of Performance Studies 35, 2 (1991):138-56. De, Sushil Kumar. Early History of the Vaisnava Faith and Movement in Bengal. Calcutta: K.L. Mukhopadhyay, 1961. Dehejia, Vidya. Antal and her Path of Love: Poems of a Woman Saint From South India. New York: State University of New York Press, 1990. Dimock, Edward. The Place of the Hidden Moon: Erotic Mysticism in the VaisnavaSahajiya Cult of Bengal. Chicago and London: The University of Chicago Press, 1966. 28 HV : 4. 34, bis 3-8, sal. 200C - HZ, POOC For Private and Personal Use Only

Page #32
Dwivedi, Rewa Prasad. ed. Malavikagnimitra, a Sanskrit Play by Kalidasa. Translated by Charles Henry Tawney. Varanasi: Indological Book House, 1964. Erndl, Kathleen M. "The Goddess and Women's Power: A Hindu Case Study." In Women and Goddess traditions: In antiquity and Today, edited by Karen King, 17-38. Minneapolis: Fortress Press, 1997. Falk, Nancy A. "Shakti Ascending: Hindu Women, Politics, and Religious Leadership during the Nineteenth and Twentieth Centuries." In Religion in Modern India, edited by Robert D. Baird, 298-334. New Delhi: Manohar, 1995. Gargi, Balwant. Folk Theatre of India. Seattle and London: University of Washington Press, 1966. Ghosh, Manomohan. The Natyasastra: a Treatise on Hindu Dramaturgy and Histrionics. Translated from original Sanskrit (Vols. I & II). Calcutta : Royal Asiatic Society, 1967. Gupta, Chandra Bhan. The Indian Theatre. Delhi: Munshiram Manoharlal, 1991. Haberman, David. Acting as a way of Salvation: the Study of Ragnuga Bhakti Sadhana. New York: Oxford University Press, 1988. Harlan, Lindsey. "The Bhakt Paradigm: Mirabai." Religion and Rajput Women, the Ethic of Protection in Contemporary Narratives. Berkeley: University of California Press, 1992. Hawley, John Stratton. Songs of the Saints of India. New York: Oxford University Press, 1988. Hein, Norvin. "Radha and Erotic Community." In The Divine Consort: Radha and the Goddesses of India, edited by John Stratton Hawley and Donna Marie Wulff, 116-124. Berkeley, CA: Graduate Theological Union in collaboration with New Delhi: Motilal Banarasidas Publishers, 1982. _The Miracle Plays of Mathura. New Heaven : Yale University Press, 1972. Humes, Cynthia Ann. "Glorifying the Great Goddess or Great Woman?" In Women and Goddess traditions: In antiquity and Today, edited by Karen King, 39-63. Minneapolis: Fortress Press, 1997. Jorden, Kay. From Sacred Servant to Profane Prostitute: A Study of the Changing Legal Status of the Devadasis, 1857-1947. Ph.D. Dissertation, University of Iowa, 1989. Joshi, Damyanti. Madame Menaka. New Delhi: Sangeet Natak Akademi, 1989. Kersenbooin-Story, Saskia C. Nityasumangali: Devadasi Tradition in South India. Delhi: Motilal Banarsidas, 1987. Khokar, Mohan. "A Momentous Transition." Sangeet Natak no. 84 (April-June 1987):4147. "Dance in Transition, the Pioneers." Trends and Traditions in Indian Arts, Marg, a Magazine of the Arts, XXXVI no. 2. Bombay: Marg Publications, 1985. Traditions of Indian Classical Dance. Delhi: Clarion Books, 1984. King, Karen, ed. Women and Goddess Traditions. Minneapolis: Fortress Press, 1997. Some Issues on the Gender Politics in the Bhakti Genre of Indian... 29 For Private and Personal Use Only

Page #33
Marglin, Frederique, Appfel. Wives of God-King: the Devadasis of Tamil Nadu. New Delhi: Oxford University Press, 1985. Miller, Barbara Stoler. "Radha." In The Divine Consort: Radha and the Goddesses of India, edited by John Stratton Hawley and Donna Marie Wulff, 13-26. Berkeley, CA: Graduate Theological Union in collaboration with New Delhi: Motilal Banarasidas Publishers, 1982. Love Song of the Dark Lord: Jayadeva's Gitagovinda. Translation. New York: Columbia University Press, 1977. Acharya Shri Kailassagarsuri Gyanmandir Mullatti, Leela. The Bhakti Movement and the Status of Women: a case study of Virasaivism. New Delhi: Abhinava Publications, 1989. Narayan, Vasudha. "Brimming with Bhakti, Embodiments of Shakti: Devotees, deities, Performers, reformers, and other Women of Power in the Hindu Tradition." In Feminism and World Religions, edited by Sharma, Arvind and Katherine K. Young, 25-77. New York: State University of New York Press, 1999. Narayanarao, Velceru and David Shulman. "History, Biography and Poetry at the Tanjavur Nayaka Court." In Identity, Consciousness and the Past: the South Asian Scene, edited by H. L. Seneviratne. Special Issue. Adelaide, South Australia: University of Adelaide, Dept. of Anthropology, 1989. Parker, Kunal M. "A Corporation of Superior Prostitutes' Anglo-Indian Legal Conceptions. of Temple-dancing Girls, 1800-1914." Modern Asian Studies 32,3 (July 1998):559-633. Patnaik, D. N. Odissi Dance. Bhuvaneshwar: Orissa Sangeet Natak Akademi, 1990. Pattabhiraman, N. "Dr. Vempatti China Satyam: Modernizer of a Tacky Dance Tradition." Sruti 51-52, (December-January 1988-89):47-54. Pitkow, Marlene B. Representations of the Feminine in Kathakali: Dance-drama of Kerala, South India. Ph.D. dissertation, New York University, Department of Performance Studies, 1998. Raghavan, V. "Sanskrit Drama in Performance." In Sanskrit Drama in Performance, edited by Rachel Van M Baumer and James Brandon, 9-44. Honolulu: The University Press of Hawaii, 1981. Ramanujan, A. K. "On Women Saints." In The Divine Consort: Radha and the Goddesses of India, edited by John Stratton Hawley and Donna Marie Wulff, 316-324. Berkeley, CA: Graduate Theological Union in collaboration with New Delhi: Motilal Banarasidas, 1982. 1996. Ramnarayan, Gowri. "Rukhmini Devi: A Quest for Beauty." Sruti 8 (June 1984):17-29. Richmond, Farley. P. "Characteristics of Sanskrit Theatre and Drama." In Indian Theatre: Traditions of Performance, edited by Richmond, Farley, Darius Swann and Phillip Zarrilli, 3385. Honolulu: University of Hawaii Press, 1990. Rosen, Steven, ed. Vaisnavi: Women and Worship of Krishna. Delhi: Motilal Banarasidas, 30 Sangari, Kumkum. "Mirabai and the Spiritual Economy of Bhakti." In Gender and Nation, 21-125. New Delhi: Nehru Memorial Museum and Library, 2001. sAmIpya : pu. 25, aMka 3-4, okTo. 2008 For Private and Personal Use Only - mArca, 2009

Page #34
Schechner, Richard. Performative Circumstances: From the Avant Garde to Ramlila. Calcutta: Seagull Books, 1983. Sen, S. P. ed. Social and Religious Reform Movements in the Nineteenth and Twentieth Centuries. Calcutta: Institute of Historical Studies, 1979. Acharya Shri Kailassagarsuri Gyanmandir Shah, Purnima. "Negotiating Kathak in Contemporary Kathak Dance Choreography." Samipya: Journal of the B. J. Institute of Learning and Research XXV no. 1-2 (April-September 2008):1-9. "State Sponsorship of the Arts in India: the Appropriation of the National and Regional." Dance Chronicle 25, 1 (2003):125-142. 30, 2 (Fall 1998):2-17. National Dance Festivals in India: Public Culture, Social Memory and Identity. Ph.D. dissertation, University of Wisconsin-Madison, 2000. "Transcending Gender in the Performance of Kathak." Dance Research Journal Srinivasan, Amrit. "Reform and Revival: the Devadasi and her Dance." The Economic and Political Weekly, 20, 44 (November 1985):1869-1876. (1983):73-99. Temple Prostitution and Community Reform: An Examination of the Ethnographic, Historical and Textual Content of the Devadasis of Tamil Nadu, South India. Ph.D. Dissertation, Cambridge, 1984. "The Hindu Temple Dancer: Prostitute or Nun." Cambridge Anthropology, 8, 1: Swann, Darius. L. "Rasalila and the Sanskrit Drama." In Sanskrit Drama in Performance, edited by Rachel Van M Baumer and James Brandon, 264-274. Honolulu: The University Press of Hawaii, 1981. Tharu, Susie and K. Lalita. Women Writing in India: 600 BC to the Present. New York: Feminist Press at the City University of New York, 1991. Vaudeville, Charlotte. "Krishna Gopala, Radha, and The Great Goddess." In The Divine Consort: Radha and The Goddesses of India, edited by John Stratton Hawley and Donna Marie Wulff, 1-12. Berkeley: Graduate Theological Union; New Delhi: Motilal Banarasidas, 1982. Zarrilli, Phillip. "What Does it Mean to Become a Character? Kathakali Actor Training and Characterization." Kathakali Dance-drama: Where Gods and Demons come to Play. London: Routledge, 2000. Some Issues on the Gender Politics in the Bhakti Genre of Indian... For Private and Personal Use Only 31

Page #35
1. Gotipua (young boy) danc in female atire, Orissa 2. Gotipua (young boy) danc in female atire, Orissa 3. Gotipua (young boy) dancers performing the Bandha Nritya 4. Male actor performing the role of Mandodari in Kathakali. (Kerala) 5. Male actor in a Stree Vesha in Kathakali dance - drama. (Kerala) 6. Guru Kelucharan Mohapatra enacting a female role Odissi dance (Orrisa) 7. Vedantam Lakshminarayan Sastri, Renowned for performing female roles in Kuchipudi dance (Andhra Pradesh) : 4. 24, bis 3-8, asal. 2006 - HU21, 2004 32 eur For Private and Personal Use Only

Page #36
8. Mahari (temple dancer) of Orissa 9. Young boys performing the role of Radha, Krishna and the Gopis in Vrindavan Rasalila. GES 10. Young boys performing the role of Radha and Krishna in Rasalila. 11. Vedantam Sathyanarayan Sarma, Renowned for his performance of female roles (particularly Satyabhama) in Bhamakalapam (Andhra Pradesh). 14. Uday Shankar in "The Rajput Bride". 12. Vedantam Sathyanarayan Sarma 13. Vedantam Sathyanarayan Sarma in Make-up for the role of in the role of Satyabhama in Bhamakalapam. Satyabhama in Bhamakalapam. Some Issues on the Gender Politics in the Bhakti Genre of Indian... 33 For Private and Personal Use Only

Page #37
Some Unique Step-wells and Tanks of Gujarat and Rajasthan Acharya Shri Kailassagarsuri Gyanmandir Introduction Water, like air, is fundamentally associated with life. The Sanskrit word 'Jivan' (jivana) i.e. life, significantly stands for both water and life. From the time immemorial man needs water only for drinking but for cultivating the food-grains. For these purposes he was entirely dependent on rain-fall, which was often either irregular or caused complete drought. Man was therefore, completed to invent the system of irrigation and he dug out the canals to divert some of the waters of rivers and natural lakes. But when he came to know about the subterranean storage of water, he dug up deep wells. Dr. Ramjibhai Savalia* In regions like Gujarat and Rajasthan where there are no big rivers, the problem of water supply becomes acute. This deficiency has been made good, to some extent, by the construction of lakes and stepped wells.' It should be noted that the reservoirs are of two categories. The natural reservoirs like rivers, lakes, etc. are dependent on the rainfall while the artificial reservoirs like lakes, wells, step-wells, etc. are dependent on subtarranean water supply. The chief amont the artificial reservoirs is well which is useful in all seasons and found in everywhere in the regions of Gujarat and Rajasthan.2 The step-well is an unique construction of a well with steps either on one side, two, three or on all the four sides leading to the water surface. Such stepped construction of the well is known in sanskrit Vapi.3 Water is one of the essential elements associated with human life. From time immemorial mankind needs water not only for drinking but for the purpose of cultivating food-grains. In the region of Gujarat in the medieval period the problem of water supply became acute, as it is today. This deficiency has been recouped to some extent, by the construction of various types of artificial reservoirs similar to lakes (sara), ponds (tadaga, kundas), wells (kupa, vava) and stepwells (vapi and kunda). A kunda, is a kind of reservoir, a construction of a well with flights of steps leading to the water source from either a single shaft or from up to four directions dependent upon the design.* * Director-in-charge, B. J. Institute, Ashram Road, Ahmedabad-9 34 There are at least fifteen different names for Stepwells. In Gujarat they are most commonly known as Vavs where as in Rajasthan they are usually known as Baoris or For Private and Personal Use Only sAmIpya : pu. 25, aMka 3-4, okTo. 2008 mArca, 2009 -

Page #38
kunds. The unique cultural history and social significance behind the architecture of Indian stepwells has been studied and researched by numerous scholars. Trekking. through difficult terrains exposed to the heat and dust of desert area of Rajasthan and arid parts of Gujarat, his fascination with stepwells has given him a fair understanding of their architecture, nature and social significance in a region where water has been a scarcity and of enormous religious and cultural significance both for the royals as well as the commoners. Since the turn of the last century, given the growing urbanisation, pollution and life threatening health hazards, as the State authorities introduced a system of tap water supply, step wells have fallen victim to disuse and disintegration." Acharya Shri Kailassagarsuri Gyanmandir Stepwells have been constructed over the last 12 centuries in India to harvest and provide access to water in the arid and desert regions of Rajasthan and Gujarat where they can mostly be found. As the name suggests the water is approached by descending steps from ground level to reach water level. The combination of groundwater and rainwater would fill the wells during the Monsoon and as the dry season progressed the water level dropped. Wells could be as deep as 9 levels from ground level, but most Stepwells were four or five stories deep with sheltered landings. at each level. There is considerable diversity in their designs and Kunds (Stepped ponds) are distinctly different as the descent to the water level is without covered landings and these are open to the sky. The sites can be divided into distinct categories based upon conditions, architectural periods and designs. The breadth of this variety is governed by a number of factors: including the regions in which they were built, their age and the geology of the locations. The level of the water table when they were constructed, the nature of the patronage under which they were commissioned, and their religious significance. Broadly speaking, publicly-accessible wells were constructed for the general good of the community. When built by royalty, rich merchants or monks, it was to the benefit of everyone who needed direct access to water, the crucial element in the lives of those living in desert regions. In addition to providing water for drinking, irrigation, washing and bathing, stepwells provided other important functions and facilities. As a meeting place there were separate areas designated for men and women to bathe and for the women, who came to collect water for their households, it was an important opportunity to socialise and exchange news beyond their confirement at home. Descending below ground-level, sometimes to a depth of 200 feet, the ambient temperature drops, thus providing cool areas on the pavillion landings for travellers to rest during the intense heat of the summer (temperatures can rise to 50 degree C in April, May) for all but the lowest castes. This provided time to worship their Gods, socialise and enjoy recreational activities. SOME UNIQUE STEP-WELLS AND TANKS OF GUJARAT AND RAJASTHAN For Private and Personal Use Only 35

Page #39
Most wells are adjacent to temples and the religious dimension is important, water being regarded as sacred and direct from the Ganges (symbolically). Waterborne deities often feature in the sculptures found in niches on either side of the pavillion (verandas). Recreational bathing often took place, especially amongst royal families, while mourners in a very different context, would ritually cleanse their bodies after funerals. These social and religious aspects of the wells assisted community cochesion, something that was not well understodd by the British Raj who banned their use in the 19th century as a health hazard.? The dereliction of so many wells must be placed at the door of the British Raj who declared them unhealthy and banned their use. This was a misguided policy and did not recognized the important and valuable functions they served. They are often built by royal families, Maharajas, princes and queens as acts of generosity and benevolence for the community by providing access to water in a desert environment, cool shelter and a place to meet on long journeys and as a place to worship. May of the wells are important religious sites, adjacent to temples and richly decoarated with hundreds of stone carvings of India Gods, animals and other symbols. These structures served many other purpose. As places of entertainment, there are dance platforms built in Baoris to be found in Kota (Amli Meena), for recreational bathing thus serving a very different purpose to providing a place to bath and cleanse the body following a funeral ceremony. The wells feel into discuse in the 19th century being replaced by water pumps. The changing level of groundwater and the unreliable nature of the Monsoon were also factors that led to the wells' demise and, 150 years on, the majority are now dry. Although a great many of these wells are neglected and beyond repair, the decision by the Government to restore some important sites is an important recognition that stepwells are significant examples of traditional Indian architecture. Their preservation, even in a limited capacity, is an important initivative and very welcome. It is difficult to generalize regarding the different sturctures and forms of wells. The construction of these wells reflect a number of influences-natural geographical features, types of soil, rainfall, groundwater level and the distinctive styles of the respective regions. The status of those responsible for their construction varies greatly, was build by an itinerant gypsy, contrasting greatly with those constructed by Royal Families. One of the earliest monuments connected with the storing and keeping of water that come to light in Gujarat seems to be the deep tank or bath' in the Buddhist caves in the uparkot in Junagadh. The earliest three step wells near the village of Dhank in Saurashtra, which are structurally built. Their construction falls into the pre-chaulukya period and their date could be ascribed to the early 7th century, during the rule of the saindhavas in that erea. One stepwell which is located about 15 km to the west of the village of Dhank, later called Bochavodi vava. The two stepwells in Dhank itself are 36 Huuluu : 4. 24, vis 3-8, zsal. 2006 - HZ, 2006 For Private and Personal Use Only

Page #40
called Jhilani (about 600 A.D.) and Manjushri (early 7th cent.) vava. Next in chronology is the stepwell of Modhera (10th Cent.) situated to the west of Surya Kunda, the Tank in front of the famous Sun temple.10 In the Chaulukyan period (A.D. 942-1304) chronicles and inscriptions mention the construction of several types of reservoirs, viz. Sara (lake), Vapi (Step-well), Kupa (well) and Tadaga (pond) by royal personages as well as citizens. This tradition seems to have been maintained during the Muslim rule (A.D. 1304-1738), especially during the region of Mahmuda Begada. Several beautifully carved important reservoirs have been built, some of which still persist either in entire or in extent form. Some of these step-wells bear important inscriptions either in Sanskrit or Persian or in both languages. But many of them do not contain any inscription still however they have been found noteworthy due to either their architectural form or sculptural wealth.11 All over Gujarat there is a regular network of interesting and magnificent wellmonuments, although antiquity and art-historical merit might differ very much. Very important stepwells are found in northern and central Gujarat as well as in northern and southern Saurashtra. In the southern and south-eastern part of Gujarat, the number of stepwells is relatively less. The existing stepwells are simply utilitarian in character and of little art-historical importance. The reason for this might to sought in the climatic conditions. Southern Gujarat has compared to other regions-more rainfall and a less arid climate, so that the need for water-storing facilities might not have been felt so keenly. The scarcity of stepwells in the district of Kutch is not so easily understandable. Having a rather dry and arid climate, one would imagine that it should have a lot of stepwell. There a quite a few, but they are small and absolutely without elaboration and carving, like those allover saurashtra and Northern Gujarat. In Rajasthan, the earlier types of stepwells are frequently met with. These are, however, of different structure from those found in the Gujarat region. They are more pond-like well-monuments having stepped passages for reaching the water level. The types in Rajasthan combine the architectural form of a structural pond (kunda), with the stepwell proper (vapi), often described therefore as Kunda-Vapi or locally KundaVava, meaning 'a step well-pond'. The stepwells of Rajasthan date between the 8th and 11th centuries; their examples are found in osian abaneri, Bhinnamal (8th cent.), Pipad and Harsha (both 9th cent.), Vasantgadh and Nadol (both 10th cent.), Sevasi (11th cent.) and in Bundi (of late mediaeval period). In Karnataka also stepwells are found, allthough the major well-monuments are more of a Kunda or Kunda-Vapi-type. The stepwells of Karnataka date between 7th and 11th centuries. Their examples are found in Aihol-Huccimalligudi tepmle (7th Cent.), Gudu village (10th cent.), Sudi village (early 11th cent.). Jualal. SOME UNIQUE STEP-WELLS AND TANKS OF GUJARATAND RAJASTHAN 37 For Private and Personal Use Only

Page #41
There are also some stepwells in Delhi, one of which was built during Tughlak times called Ugrasen-ki-Baoli (near today's connaught place), one built during the reigon of Iltutmish (1210-1236 A.D.) called Gandhak ki Baoli (near Dargah qutb sahib) and a leter one of 1516 called Rajori-ki Bari built by Daulatkhan, a nobleman of Sikandar Lodhi's region. Stepwell like monuments are also found in the fort of Agra - in the Diwan-i-am quarter and one in Fetehpur-sikri outside the main building complex on the western side. 12 A multiple entrance wells are situalted near Red Fort in New Delhi. This site has no title but was converted into a prison during the 1857 Indian Mutiny by the British Raj. It is said to have been the queen's bath at one time. It has three stone stairway approaches through elegant arches to a single well.13 Here, I have confined some unique stepwells (vava) and Tanks (Kunda) of Gujarat and Rajasthan viz. Gujarat : Rani-ni vava-Patan (N.G.), Rudabai's vava - Adalaj, Bai Hari's vava-Ahmedabad; Sakti kunda-Akhaj, Surya Kunda-Modhera, Brahmakunda, Sihor. Rajasthan : Raniji-ki-Baori - Bundi, Neemrana ki Baori - Alwar, Panna Meena kunda-Amber, Chand Baori-Kunda, Abaneri. Rani-ni vava - Patana The step-well buily (in 1068 A. D.) in the auspices of the queen Udayamati was known as the queen's step-well - 'Rani-ni-vava' - Patan (North Gujarat) To the N.W. of Patan and not far from the remains of the embankment of the famous Sahasralinga lake, are the remains of the extent Rani Vava-once one of those beautiful step-wells of Gujarat. When Burgess visited this vava nothing of it was seen except a huge pit, in length, with a portion of the masonry of the well shaft (AANG P. III) at one end and the fragments of a pillar at the other. The pit sloped down from the latter to the former, where there was a pool of stagnent water. He says, "Judging to its original size by the distance from the well-shaft to the solitary pillar, and considering the amount of sculpture that must have been decorated the gallaries, the Rani Vava, when intact, must have been second to none in Gujarat. A part only of the west wall of the wellshaft now remains, from which we learn that the walls had been built of brick and faced with stone." About the plan of the Vava he remarks. "It is impossible now to say what the exact plan of this well must have been-wheather it had a single stair like that at Vayad (AANG p. iv) or was cross shaped with three flights of steps as in the great well at Adalaj."14 In the barren featureless terrain, these sub-terranean stuctures with their ornate interior make a strong impact on the mind of the visitors. The traveller Arther malet visited Patan in the 1st half of the 19th century & prepared a drawing of queen's stepwell. Colonel James Tod in his 'travels in western India' wrote about the stepwell at Patan and reproduced Matet's drawing. In the letar half of 19th century Alexander 38 2011 : y. 24, sis 3-8, viszi. 2006 - Hize, 2004 For Private and Personal Use Only

Page #42
K. Forbes, British Administrator in 'Hindu annals of the province of Gujarat' recorded the qeen's stepwell at Patan.15 Among the beautiful and ornamented stone step-wells (vava) that have survived in Gujarat, he most ancient one is the Rani-vava. This step-well is located at a distance of two kilometers Northwest to the city of Patan. It is on the bank of the river Sarasvati. There is the old castle, and the Sahasralinga lake beside the step-well. There is a reference in the Prabandha-chintamani, about this step-well being built by the Queen Udayamati, the wife of the Chaulukya king Bhimadeva I (1022-1064 CE.), the mother of Karnadeva. Queen Udayamati was refined culturally, compassionate, lover of art, and religious-minded, about which one can get a glimpse on seeing the architecture and rich sculpture of this step-well. It was excavated and repaired by the Department of Archaeology of the Government of India in the year 1986. The beautiful idol of the Queen Udayamati has also been found from it. One can realize on the basis of the rich sculptural remnants found herein that this step-well has the best carvings of Gujarat. The sculptures in this stepwell can be compared with those in the Sun Temple of Modhera and the temple of Adinatha on the Mount Abu. The construction of this step-well is in the East-West direction. Its entrance is in the East, while the well (kupa) is in the West. Originally, this step-well was seven storeyed. As per the types of the step-wells given in the works on architecture, this step-well should be taken to belong to the 'Nanda' type. At present the entrance, the walls of both sides, steps, some pavilions, the backside wall of the well and five storeys have been preserved. There are seven plastered floors in the well. Looking up from the lower part the sculptures have been preserved up to the sixth floor. The first one has collapsed. This step-well is 65 meters long and 20 meters broad. The portion of the well is 32 meters deep.16 The landing and side walls or draw-well horizontally, is divided into several sections corresponding to the stories of the step-well. Each of these section is again divided, vertically, by means of 8 dwarf pillars and thereby giving rise to corresponding nine stambha antarala i.e. intermediate wall-space, which is filled in with figure sculptures of Gods and Goddesses. However, he two extreme ends of the wall of the draw well attaching to the frontal broad rectangular landing do not contain dwarf pillars at these extreme ends. The horizontal arrangement of the wall courses at each storey displays the mouldings akin to the Jangha mouldings of the mandovara. They are from botom to top Kani (astragal). Andharika (recess), Kapotali (cymarecta) adorned with thagarika (i.e. archand pediment). Above it is a small course of the Jangha moulding adorned with niched seated figures of Gods and Goddesses, superimposed with a stepped-out pediment. Above the small Jangha moulding there rests, the prominent, Jangha moulding separated by a deep recess. The Jangha moulding here, likewise, contains SOME UNIQUE STEP-WELLS AND TANKS OF GUJARATAND RAJASTHAN 39 For Private and Personal Use Only

Page #43
the niched standing figures of Gods and Goddesses. Above this is chhadyaka (cave) superimposed with ornate and inticrate pediment, above which rests the prominent Kutachadya (eave) adorned with detail pallava-course. The central off-setted Bhadraka type of dwarf pillars in elevational part from the bottom to top follow the usual order of Kumbhi (base), Stambhadanda (shaft) and capital (Siravati). The shafts of the pillar at the lower end adorned with a niche and a seated figure of a God. Over this is a moulding of ghata-pallava pattern which is again superimposed with floral frieze and grasapatti separated by a beaded course known as Ratna-Pattika or Manibandha. The cross shaped corbelled capital over the pillar is superimposed with similar scrolled member, over which projects the ornate vertical bracket called Madala in pair which once supported the gallaries falling in the well. Their brakating constructed in the same principle as we find at the gateways of Zinzuwada and Dabhoi. The circular frame of the well of each storey, as noted above, divided into nine sections, by means of eight dwarf pillar. The two large sections in the extreme ends of the frame i.e. north and south have figures of six couples of Gods and Goddesses on each Jangha. The main jangha moulding at the central section is adorned with three sculptures, the centrel one being seated in Yogasana pose and the flanking two, one on each side, are standing figures in sambhanga posture. The six sections, three on left and three on right, contain figures of three couples of Gods and Goddesses in each section. All the figures on lower small Jangha moulding are singular seated in lalitasana posture. Thus on each storey of the well we find 33 figures on the principal Jangha of which, except the contral one, singular and seated one, all are depicted in couples. The subsidiary Jangha also contained 33 more singular figures seated in lalitasana posture. To add with them the 8 small figures carved on pillar shafts the number would be 41.17 Numerous idols pertaining to the Saivite, the Vaisnavite ans the saktaite religious sects are found among the profusely rich sculpture of this step-well. Among the Saivite sculptures there are the idols of Siva, His coupled form, the lsana form, Ganesa and the peripheral deities. Among the idols pertaining to Vaisnavism, the idols of the twenty-four forms of Visnu, the idol of Varaha one of the ten incarnations complying to the sculptural prescriptions, the attractive idol of Lord Vamana, Rama, Balarama, Buddha and the idol Kalki riding a horse, all these carved on the panel of the step-well, generate unprecedented attraction. Moreover, excellent idols of the divine family along with the sitting and the standing idols of Laksmi-Narayana, as also an independent beautiful idol of Mahalaksmi, have been carved. 40 zurlu : y. 24, zis 3-8, viszi. 2006 - Hz, 2004 For Private and Personal Use Only

Page #44
There are many sculptures of various forms of Laksmi, Parvati, Sarasvati, Saptamatnkas, Camunda and Durga confirming to the Saktaite norms, or the idols of the goddesses and those that have been carved in accordance with the norms of the science of sculpture. Here, we can find the incomparable sculptures of the twelve forms of Gauri, as also of Parvati performing the Pancagni penance, and of Uma wearing only a loincloth and standing on the one foot. The sculptures of twenty-armed Mahisamardini and of Bhairava are found to have been carved on the basis of the works on science of sculpture. The beautiful idols of couples like Brahma-Savitri, Uma-Mahesvara, Ganesa-Sakti and Kubera-Sakti are worth mentioning. The sculptures of Mahalaksmi, the idol of Visvarupa-Visnu and those of the goddesses mentioned in the works of Tantra, of the Yoginis, Sapta-matnkas and Hanuman are attractive, The sculptures of gods and goddesses on the walls of the well of the step-well, as also the excellent sculpture of Sesa-sayi-Visnu flabbergasts the tourists. There are several aspects of Siva coupled by his beloved consort that are sculpted magnificently on the panels of the Rani-vava that amaze the beholder by the evocative grandeur and beauty of the icons. One finds oneself suddenly transported to the lands of the divines permeated by the spiritual flavor all around. One would bow down to Lord Siva in supplication with heart-felt devotion as one beholds Siva revealing so many of his divine manifestations in these marvelous sculptures. 18 The Queen's Step-well is an underground shrine, since the magnificent sculptures on the panel and nisches in its walls contain figures of various gods and goddesses of the Hindu pantheon along with the Puranic myths and literary lores. In the aesthetic panorama of life depicted in this monumemt, the artists have brought down the divine on the Earth andraised man to meet the divinity on the Earth.19 This step-well is visibly indicative of the highest type of artistic sense and integrity of elegance of the public life of Gujarat during the 11th century. Here we have poetry carved in stones. These stones, too, expressing beautiful and charming emotional ecstasy are the living symbols of the ardent longing of the Gujarati people and the every art of man. When in the 11th century this step-well might have been under construction, due to the controlled strokes of the master sculptors hitting the stones, the step-well must have been resounding with the humming of the chisels. This step is a resort of art charming to the eyes for those interested connoisseurs and those curious of beauty. There is a throb of life in the sculptures of this step-well. Shapely limbs, and the charming turns of limbs arising due to that artistic rhythm, renders the beauty more shapely. Even in the stones establishing the tenderness the life-style full of skillful art of Gujarat of those times is reflected. The female sculptures here have been shining through their loveliness, bashful postures of the limbs and incomparable physical elegance.20 SOME UNIQUE STEP-WELLS AND TANKS OF GUJARAT AND RAJASTHAN 41 For Private and Personal Use Only

Page #45
Rudabai's vava Adalaj (Dist. Gandhinagar) Perhaps the finest of the Gujarat Vavas is that at the village Adalaj, 12 miles north from Ahmedabad. It varies in the arrangement of acces; for here the entrance to the head of the stair is from three sides, and is reached by a few steps from the ground level; landing on platforms 23 & 26 feet across (one on South being lost) from which again are descents of 11 feet on three sides to a spacious landing which measures 41 feet each way. Acharya Shri Kailassagarsuri Gyanmandir This Vava runs, from south to north, and the stair from the north side of the landing leads down to the reservoir. On the first landing stand 12 pillars, forming a square 221% feet across, between their centres. These are arranged in such a way, that an octagon is formed by the lintels connecting the inner eight, which support a deep fieze, richly carved in the style of Vedika (railing) mouldings similar to vedika of the balconies of a Hindu temple. This pattern was too familiar to the Muslim Architecture of Gujarat also. Probably this supported a dome over the landing which, however, has long since disappeared. Behind these pillars, on each side, stand two others, which, with those of the octagon, from porches on the four sides of area. The pillars on the north side stand on the descent and are taller than the other: they are also more elaborately carved in the fashion of pillars of a kirtitorana. These pillars, in shape and composition are different from the rest of the pillars which are mostly of simple bhadraka type decorated only at the upper end with ratnapattika and floral-Geometrical design. Their circular-disced and corbelled brackets are also simple. As usual these pillars are composed of the base (Kumbhi) shaft, stambha (Danda), capital (Siravati) but these are superimposed with Ucchalaka (i.e. short pillar) and corbelled bracket so that the required height is attained. The Uchhalaka is flanked on its right and left side, with a miniature pillar like moulding, over the pillars rests the beautifully carved beam (pata). At the corners of first landing are four small rooms-each only about 4 ft square in side-with balcony windows facing east and west, and doors on north and south sides. The details of the carving of these windows balconies are interesting. It is supported by our highly carved corbelled brackets (i.e. Madalas) with hanging circular lumas. Over it rests a course of animal figure sculptures. This is continued on the string course at the same level all along the walls of the Vava. Over the animal frieze is deeply carved floral pattern which is superimposed with the back of the asanapatta carved in the fashion of upraised lotus petals and lotus buds. 42 Over the asanapatta rest the dwarf pillars superimposed with the eave (chhadyakuta). The opening of the balcony contains the floral feieze on vertical as well as horizontal sides of it. The cyma-recta-shaped eave contained Dandika and sAmIpya : pu. 25, aMka 3-4, okTo. 2008 mArca, 2009 For Private and Personal Use Only

Page #46
inticrataly carved pediments at intervals. The eave is superimposed with an arched member architecturally known an Illikalavana carved in floral pattern and decked with chained hanging kalasa at the central arch. The Vava runs for south to north-the approach being at the south end; and from the back of the irrigation shaft at the north end to the extreme south of the masonry it is 215 feet in length. The irrigation shaft is 17 feet in diameter, the width of the landing platform is 23 feet. The main octagonal shaft is 28 feet in diameter. To this a spiral stair descends on each side, the canopies above this entrance possibly have been destroyed. The well is nearly 55 ft. deep. The vedikas and the beams supporting them are highly ornate. In the carving and design they are similar to those of the first landing at the entrance. The pillars supporting these are simple. The beams over the octangonal frame is divided mainly in two horizontal fiezes, the lower one being in floral pattern, the upper one carved in inverted hemispherical sections insetted with full-blown lotus design. Above this rests the cornice carved support the vedika or railing proper divided in ornate vertical offsetted panel. Horizontally, the Vava is divided into seven sections. The first on the north is occupied by the first landing opened through descents of three sides. The subsequent three sections are composed of storied landing interspaced by the flight of steps. The descents of the stair are gentle, every fifth steps being of double breadth, and the height of the landing from floor to floor is about 11'-6". Among these storied sections, the first is two-storied the second three-storied and the fourth one is four-storied structure. Thus vertically, the Vava contains four kutas and two wells, octagonal and round ones. Between the principal octagonal well and the round irrigation well, there is an architectural device known as antarala (Vestibule) which connects both the wells probably by means of sluice. There are carved niches on the walls of each storied landing from floor to floor. These niches contains beautiful floral patterns especially those of fully blommed lotus having the layers of 8,16,24 or 32 petals from the centre of which hangs the chained ciraga surrounded again with floral designs, and kalpalata design. One of the niches contains the vertical series of pots placed one over other, while the other one has a figure of some Hindu diety which is very much defaced. The principal well contains a spiral stair-case on it as west wells, while there are small stairs on both the sides of each storied landing. The second, third and fourth storied landings have six free standing pillars and six pilasters from floor to floor. These landings are, again, interspaced by means of a narrow landing composed of two double pilasters from floor to floor. In the second gallery on the right side of the octagonal wall, over a door leanding to the spiral stair, that ca he spiral stair, 'that' comes down from the ground level is a feieze carved with the SOME UNIQUE STEP-WELLS AND TANKS OF GUJARATAND RAJASTHAN 43 For Private and Personal Use Only

Page #47
Nava-graha or lords of nine planets. These are the Sun and the Moon and five planets, and the ascending and descending nodes of the moon.. Acharya Shri Kailassagarsuri Gyanmandir The nine figures are rather coarsely carved and have suffered from age, damp. and possibly violence. The right are Rahu-the ascending node-represented by a head (the Dragons' head of western phraseology), and Ketu, who has a head with the tail of a fish, representing the descending node (or Dragon's tail). The figures of two-armed Sun and Moon wear Kiritamukuta on their heads and are flanked by a devotee on their either sides. Both of them hold lotuses in their hands. The four-armed figures of Mangala, Brhaspati, Sukra and Sani, wear a Karanda Mukuta and are flaked by a devotee on their either sides except Sani, on whose right is a figure of a bull. Mangala (Mars) holds amkusa (elephant-goad) noose (pasa) in his upper right and left hands respectively, similarly Brhaspati holds a pen (Lekhini), scripture (a book), Sukra amrta-kumbha (nector-pot) and a shaft (Danda) and Sani amkusa (goad) and Gada (club) in their upper hands. The lower right hand of all these deities are in varada (boon-giving) posture and with the corresponding left they hold a kamandalu (a pitcher). The figure of Rahu (ascending node) is two-armed, the right one being held in Abhaya posture, with the left he holds Kumbha (pot). The two hands of Ketu are folded, probably in Anjali-mudra. In one of the niches on the right side of the upper landing is a Sanskrit inscription of S. V. 1555 (A.D. 1499) of 27 lines which falls in the reign of Mahammad Begada. It narrates that it was constructed by Virsimha Vaghela's queen named Ruda. The last four lines of this inscription are in old Gujarati.21 Bai Harir's Vava (Dada Hari's Vava), Ahmedabad. This Vava is situated at Asarva, Supurb of Ahmedabad. It was constructed by certain lady, who is described in Sanskrit inscription placed in the first landing on the south or the left side of the descent, as Bai Sri Harir, the chief superintendent (Dada) at the entrance of the Royal apartments. This epigraph is dated in S. V. 1556 (A.D. 1499). Again, in the north wall, opposite to former one, is another inscription, in Arabic which speaks of this building as constructed during the reign of Mahmuda Begada. 44 This Vava runs east to west. From The west side of the draw-well to the pavilion at the entrance on the east end it measures over all 241'-6" feet and from the first step of the descent towards the well to the same point, 215'-6". The width of the landing is 16-2" and the stairs nearly 18'-6". But round the octagonal shaft near the west end, it widens into a square of 24 feet. sAmIpya : pu. 25, aMka 3-4, okTo. 2008 For Private and Personal Use Only - mArca, 2009

Page #48
Horizontally the Vava is distributed in six sections. The first section on the east end is a pavilion covered by a dome supported by 12 pillars standing on a platform reached by steps on three outsides. From the remaining west side the stair leads to the well, which is approached by passing the three successive principal storied landings intermidiate narrow four landings, the last one of them being connected with pillaredclosister around the octagonal shaft. The octagonal shaft constitute the fifth section and the round draw-well, the last section, is connected with the latter one by means of a device known as anatarala (vestibule). The side walls of the pillared-cloister of the octagonal shaft contain the spiral stairs. Each descent has one bread step in the middle. The principal landings have 8 free-standing pillars and 8 pilasters attached to the wall from floor to floor. similar arrangement of pillars is seen in case of narrow four landings of which two, one on either ends have four free-standing pillars and four pilasters, while the two intermediate have a pair of double pillars and pilasters. The walls of, the stepwell at each kuta are decked with beautiful pillared niches which contain floral panels. The vedika (railing) arrounded the octagonal well at each floor is highly ornate just simiar to the one narrated in the case of step-well at Adalaj. The octagonal well at top is covered with a domed pavilion supported by four pillars.22 Raniji-ki Baori - Bundi (Rajasthan) The ancient city of Bundi is Reknowaed for its architecture, including its stepweels. The city is said to contain over sixty or more stepwells, although Raniji-kiBaori is one of the larger and finest examples of its kind. It is fully restored and in exceptional condition. It was build in 1600 A.D. by Rani Natawati, wife of Rao Raja Aniruddha Singh who was reported to have been responsible for building 21 additional weels in the area. Raniji's Baori is constructed around a single stone shaft and stairwell that is 46 meters deep, 40 meters long and 30 meters wide. Throughout, it has fine stone carnings of Ganesa, Sarasvati and the ten incarnations of Matsya, Varaha and Narsimha. There is a repeating theme of elephent carrings, especially around the high arches, with elephant trunks raised in the act of drinking as this is a powerful symbol of good luck in India.23 Neemarana ki Baori - Alwar This extremely large stepwell was build about 1700 A.D. by Thakur Janak singh. Its 170 stone steps descend for 9 stories deep with two additional levels under water. The top level (what would otherwise be the ground floor level) has a runing colonnade of 87 niches. Both side of the steps are extensive varandas providing coal space for traveler's rest. The pillars are said to have a strong similarity to the architectural design of the pillars of the old temple at the qutub minar complex, out side Delhi SOME UNIQUE STEP-WELLS AND TANKS OF GUJARATANDRAJASTHAN 45 For Private and Personal Use Only

Page #49
which was constructed by Prithviraj Chauhan Rajputs and one descendant of Prithviraj converted to Islam and settled in Neemrana' (stepwells of Rajasthan, Rajasthan Tourism). This Baori is in good repair and is in use as a source of drinking water and irrigation.24 The Tank or Reservior (Kunda) Several temples are found associated with tank or reservior, such as the Bhansara, Patan, Modhera, Taranetara and Viramgam. The Damodara temple at Junagadh is associated with the Damodara Kunda in front and the Revati Kunda on the right Mahatmyas of several Dharma Ksetras contain references to several kunda or vapis in association with temples. Acharya Shri Kailassagarsuri Gyanmandir Sometimes certain tanks or reservoirs constructed independently and provided with flight of stepts, contain on all their sides small shrines (Devakulikas) enshrining images of deities. The remains of Sahasra-linga lake at Patan and the present munsar lake at Viramgam afford examples of sush reservoirs.25 In the Chaulukyan period (942-1304 A.D.) of Gujarat chronicles and inscriptions mention the construction of aforementioned several types of artificial reservoirs by the royal personages as well as the citizens. This tradition seems to have been. maintained during the Muslim rule (1304-1757 A.D.) too. And hence several beautifully carved important reservoirs built during both the periods, some of which still presist either in sanskrit to persian or in both the languages. Those which do not contain inscriptions are also nateworty due to either their architectural form or sculptural decor.26 Sakti Kunda, Akhaj (Dist. Mehsana) One such beautifully decked kunda of the third quarter of 10th century A.D. is explored few years back by the villagers of Akhaj (Dist. Mehsana). This is known as the 'Sakti Kunda'. It was subseqently conserved by the Archaeological Dept. of Gujarat State. The site also revealed abundant fragments of extinct temple and Kirti-torana (gateway), probably once rested on the principal platform (panasala) of the Kunda in which are found highly ornate niched figures of divine and semidivine beings, pillars and capitals, beams and arches and pieces of a spire (sikhara), a cogged wheel (amalaka) and a cupola (kalasa) etc.27 Thus horizontaly the Kunda is divided into five sections, well in the centre, surrounded by three successive intermidiate sections of landings and principal platform at the end. 46 The vertical section of the dwarf wall, attached to the lower most couse, has a niched-pave in the centre and a right-angular corner stair on each of its sides. Thus this wall contains four panelled-niches and four right-angular stairs in all. sAmIpya : pu. 25, aMka 3-4, okTo. 2009 - For Private and Personal Use Only mArca, 2009

Page #50
Thus in vertical treatment, the Kunda is a five storied (panca-bhumika) structure which contains in all 72 pillared niches, 12 being rectangular and the rest nearly square in shape; 20 side-stairs and 12 right0angular stairs. The thirty three extant figures found in the niches surrounding all the four directions of the kunda. Most of them are in seating postures, few being standing like Ganesa, Visnu, Sitala, Agni etc. Acharya Shri Kailassagarsuri Gyanmandir Accordingly the walls of the Kunda are found adorned with niched figurs of divine beings and abundant loos sculptures and a heap of Architectural fragments lying on its bank are indicative of the existence of a temple and a 'torana' associated with the extant Kunda. In the cronical works a Kunda square in shape is called 'Bhadraka'. The Kunda at Akhaj is of this type. The Sakti Kunda is perhaps the oldest among the existing Kundas found in the region of North Gujarat. It is older than the famous Surya-Kunda at Modhera. Surya Kunda, Modhera The Sun temple with its Gudha and Sabha-mandapas with extraordinarily rich carving, pillars, toranas and Kirti-stambhas is not only the finest as a structure but the appearance of the whole scheme with its charming Kunda taken together with its architectural setting is the best that can be conceived by a master builder. In viewing the Modhera temple as a whole the aesthetic sense at once respods to the elegance of its proportions, the entire construction being lit with the living flame of inspiration.29 In front of the Sun temple is a spacious oblong tank wich is known as the Rama or Surya Kunda. It has many terraces and steps that lead down to the water. On its bank and corners are various small shrines, 108 in all in some of which are to be seem the images of Sitala, Jalasayi- Visnu and various other gods. The interesting and rare sculptures noticed here are those of Candra and Ravana. The Kunda measures 53.8 x 36.6 mtr. (175 x 120 feet).30 It is rectangular in east to west. It is on the east face of the sabha- mandapa from which a broad stair lead down to the waters edge. The upper and outermost margin is surrounded by a low wall on the ground level. A small rectangular recessed by projects outwards from the middle of each of the sides and in the middle of these on the first terrace below the ground level small detached shrines stand, each facing the tank. The sides of the tank descend to the water in terraces, of which the drop from one to another is some what considerable, and steps running parallel to them would give no resting places; hence, from small landings above, a few cross-steps at rightangles to the sides descend at both ends to the next tarrace below. Access is, thus, secured from terrace to terrace by these numerous little stairs. The terraced descent is decorated with small shrines. Besides these shrines there are numerous niches wich contain images. The nateworthy images from the small shrine are Visnu reposing on Sesa. The installation of Sesa-sayi Visnu on the east is SOME UNIQUE STEP-WELLS AND TANKS OF GUJARAT AND RAJASTHAN For Private and Personal Use Only 47

Page #51
significant in its association with a reservoir (Jalasraya)." In older times, a pilgrim was supposed to purity himself by taking a dip in the haly water of the Kunda before entering the temple.. Acharya Shri Kailassagarsuri Gyanmandir The Kunda is most amazingly propotional with innumerable stone steps, leading the pilgim down to its base. The Kunda is a stunning example of geometry come alive. The organization of stone stabs into a composition gives shape to a dazzling pattern of art, a concer to in stone. In earlier times true devattes would pay obeisance to all the Shrines. The ornate designs on these Shrines are a reflection of the style of carvings during the solanki era.32 Brahma-kunda - Sihora (Dist. Bhavnagar) There is a reference to the Brahma-kunda in the Skanda-purana as a holy place for taking bath. Since there is a mention that by bathing in it one would get a place in the royal assembly of Siva, it can be believed that even before Siddhaaraja got built the Kunda, the place was a holy place for bathing, and being attracted by which at the time of his visit to Sihora, Siddharaja got this place of bathing repaired, and ectended. The architectural form of this Kunda belongs to the Solanki period. This Kunda has been protected on all the four sides by a high compound wall, and to reach the Kunda from the level land a series of steps has been contructed. On all the four sides of the Kunda a long ans wide plastered floor has been built, on which are built the small umbrellas with stony terrace, and they are adorned by arch. This Kunda is as a square with for equal sides have the length and breadth of 84 x 84 feet. In all there are six terraces in it. The lengtha and breadth of each terrace is six and a half feet. There are six such terraces. In the first terrace there are built four rungs on each of the wo sides. Inside the Kunda, on all four sides in the middle of the walls and in the rectum there are constructed the round bull's-eye-windows (gavaksa). In the wall there are six and in the store five, thus in all there are eleven such round windows and the statues of Hindu gods and goddesses have been placed in them. 48 In the second terrace there are on the corners and in the intervening parts there are at equal distances there are contructed the rungs descending on the right and left. Where these rungs end, there has been placed the semi-shades for enabling to go around on all the four sides. Here, in stores four, and in the wall five, thus in all there are construced nine bull's-eye-windows. From there, again, after descending from the two-side rungs one can go to the third terrace, in which in the three in the stores and four in the wall, thus, in all seven bull's-eye-windows are constructed. From there, in the forth teraace, in both the storesand in the wall. three bull's-eyewindows have been constructed. Thus, while going down from the upper floor, the number of the stores go on decreasing. This sort of construction is found on each side. Looking in the bull's-eye-windows of all the stores and in the walls of the Kunda sAmIpya : pu. 25, aMka 3-4, okTo. 2008 For Private and Personal Use Only - mArca, 2009

Page #52
there are, in one side 15 bull's-eye-windows, and in the wall 20 bull's-eye-windows, 35 statues in all. Counting the stores on all the four sides, and al the bull's-eye-windows of the walls, there are 140 statues in all. In each bull's-eye-window there are placed the gods and goddesses of each of the religious sects separately. In each bull's-eyewindow the gods and goddessess of different religious sects have been afforded a place. There are the idols showing the ten incarnations, along with the twenty-four forms of Visnu, while there are the idols some of the forms of Siva. On the other hand, the idols of the goddesses are seen to enjoy prominence. In them, thesculptors have succeeded in carving the forms of the goddess as depicted in the Puranas. Moreover, the sculptures of Ganapati, Brahma, and others have also become famous. The sculptures of the Yogini's are also placed by costructing the small umrella built on the Kunda.37 In the bull's-eye-window of the lower terrace, there is a beautiful and rare idol of Bakasura. This idol, being located in the water, has been delapidated. In this sculpture, Krsna has been adorned with a diadem on the head, the wide-open eyes, ear-rings in the ears, and the lower garment. The long neck of Baka and in his beak are seen the seven cows. Krsna is found to be tearing off the beak forcibly by his two hands. 38 At the end of the above-mentioned six terrace one comes to a square of 22 feet, and in its middle there is a square well of 13 feet. the stones of the well are whilte. On it the name of Siddharaja has been carved. People come to this Kunda for the rite of offering water to the manes 0, for getting the head shaved. Here, a fair is held on the no-Moon day of the month of Bhadrapada. In the south-west corner of Sihora city, in the middle of the river Gautami, there is a Kunda caledhe Gautama-kunda. This Kunda might have been built of stone. The length of this Kunda lies from the south-east to the north-west, and its breadth lies from the south-west to the north-east. Water comes to the Kunda from the South, and through the West it flows away in the river. 33 Canda Baori-Kunda, Abaneri (Dist, Dausa) Although this extraordianary site is located in a small village it was once a major centre of art and architecture a thousand years ago. "The sculptures of Abaneri are the best examples of Gurjar Pratihari art. This flourishing town was ruined by the notorious Muhammad Ghaznavi in one of his invasions."34 In the old ruined town of Abaneri, is Canda Baori, one of India's oldest and deepest wells; aesthetically, it's perhaps on of the most dramatic. Built in around 850 A.D. next to the temple of Harshad Mata (11th cent.). The Tank is in exceptionally good condition. It forms the shape of an inverted 'V'. The Tank comprises hundreds of zigzagging steps that run along three of its sides, steeply descending 14 visible divided by repeated sets of 7 steps per level. This forms SOME UNIQUE STEP-WELLS AND TANKS OF GUJARAT AND RAJASTHAN 49 For Private and Personal Use Only

Page #53
Shri Mahavir Jain Aradhana Kendra regular criss-cross stepped pattern of considerable beauty. resulting in a striking geometric pattern when seen from after on the fourth side, coverd verandas supported by ornate pillars overlook the steps. Chand Baori is on of the largest tanks in Rajasthan. Panna Meena - Amber Modhera - Surya Kunda and Abaneri Canda Baori-Kunda are both very large. and make in interesting construct with the Tanks at the Panna Meena in Amber. A further aspect of this design would better be described as 'Ghats' which are stepped approaches to lakes or exceptionally large reservoirs. This site located close to the Amber Fortess 10 km. from Jaipur, Panna Meena Tank built in around 1200 A.D., is on of several stepwells in this immediates area. Recently restored and painted a deep canary yellow, its structure is similar to Canda Baori with three descending stepped levels forming an invert V, but a good deal smaller.36 Conclusion: Water places and well monuments have played an important role in the development of the stepwells and Tanks of Gujarat and Rajasthan. Generally, it is found that the stepweels and Tanks are related with Hindu religion. The architectural activities developed in Gujarat and Rajasthan due to the scarcity of water. 1. In the course of recent industrial development the stepwells & Tanks have lost. their inherent function of water supply and storage and are either deserted or in a broken down condition due to neglect and lack of interest. But they are the mute witness of our ancient tradition of stepwell building. With proper repair and a little care, they can be made into main tourist attraction of Gujarat and Rajasthan. 2. References: R. C. Parikh, 'Two Historical reservoirs of Gujarat', Institute of Engineers, Annual convention, Souvenir, Ahmedabad, 1968, pp. 61-62. Savalia, Ramji T. Dharma, Kala ane Samskrti-na Pariprexya-mam 3. www.kobatirth.org 35 4. 5. Acharya Shri Kailassagarsuri Gyanmandir 6. 50 Gujarat-nam Pracina Sarovaro, Talavo ane Kundo' - University Book Production Board, Gujarat State, Ahmedabad, 2000, pp. 20-21. K. F. Sompura, 'Some Important Step-wells of Gujarat', The 39th Annual research session (July, 1969, Ahmedabad) sovienir, The central Board of Irrigation & Power, p. 291. Parikh, P. C. 'The Sakti Kunda at Akhaj', Silver Jubilee Year Publication 1988-89, Dept. of Archaeology, Gujarat State, Ahmedabad, 1987, p.1. Richard Cox, 'Stepwells' Subterranean Architecture, Stepwells in western India', Lantarnam Grange Arts centre, Torfaen NP44 1 PD, 2008, p. 14. Ibid, p. 4 (Sushma K. Bahl, Senior Consultant and Curator, Ann Allen School of Medicine Curdiff University - Rajasthan wales Arts exchanges'. sAmIpsa : pu. 25, aMka 3-4, okTo. 2008 - For Private and Personal Use Only mArca, 2009

Page #54
Shri Mahavir Jain Aradhana Kendra 7. 8. Ibid, pp. 6-7. Richard Cox & R. T. Savalia, 'Stepwells in Gujarat Rajasthan and New Delhi', Journal of the B. J. Institute, Ahmedabad, 'Samipya', Vol. XXIV, No. 1-2, April-Sept. 2007, p. 26. Ibid, p. 25. www.kobatirth.org 9. 10. Jutta Jain-Newbauer, The Stepwells of Gujarat', Abhinav Publications, New Delhi, 1981, pp. 19, 20. 11. K. F. Sompura, Op.cit., p. 292. 12. Jutta Jain-Newbauer, Op.cit., Introduction, pp. XII-XIII 13. Richard Cox & R.T. Savalia, Op.cit., p. 25. 14. J. Burgess, Notes of A visit to Gujarat, in December 1869', The Times of India office publication, Bombay, 1870, p. 97. 17. Sompura, K. F. 18. Savalia, R. T. 15. Tod, James "Travels in Western India' London, 1839, p.224; Watson, J. W. 'Gazetteer of Bombay Presidency, 1884, Bombay; Burgess & Cousens, 'Architectural Antiquities of Northern Gujarat, Vol. IX, London, 1902, p. 37; Forbes 'Rasamala, Vol. I, London, 1878, p. 278. 16. R. T. Savalia, 'The Saivite and Saktaite images at Patan', Journal of B. J. Institute, Ahmedabad, Vol. XXIV, Nos. 3-4, Oct. 2007-March 2008, pp. 23-24. Op.cit., pp. 292-93. Op.cit., p. 24. 19. Sadani, Jaykishnadas 'Underground Shrine Queens;s Step-well at Patan', B. J. Institute Publication, 1998. Ahmedabad, p.V. - * Acharya Shri Kailassagarsuri Gyanmandir 20. Savalia, R. T. Op. Cit., p. 24. 21. Sompura, K. F. Op.cit., p. 294-95; R. B. Jhote, 'Ahmedabad and other places of Interest in Gujarat', Gujarat Vidya Sabha Publication, Ahmedabad, p. 21. 22. Sompura, K. F., Op. Cit., p. 299. 23. Cox, Richard Op.cit.; 2008, F.N. 3, p. 6; F.N. 6, p. 28. 24. Cox, Richard & Savalia, R. T., Op.cit., p. 28. 25. Sompura, K. F. -The Structural Temples of Gujarat', (STG) Gujarat University Publication, Ahmedabad, 1968, p. 457. 26. Parikh, P. C., The Sakti Kunda at Akhaj', Dept. of Archaeology, Gujarat State, 1989, pp.1 2. 27. Ibid., p, 2. 28. Ibid, pp. 3-6. 29. Jhote, R. B., Op.cit., p. 38. 30. STG, p. 123. 31. Ibid, pp. 458-59. 32. 'Glorious Sun Temple at Modhera', Tourism Corporation of Gujarat Ltd., 33. 'Historic Stepwells of Rajasthan', Rajasthan Tourist Guide, 1996. 34. Richard Cox & R. T. Savalia, Op.cit., p. 28. 35. Ibid, p. 27. 36. Shah, Suman 'Sihora-ni Pracinta'. 'Pathika', Sept,-Octo. 1973, p. 41. SOME UNIQUE STEP-WELLS AND TANKS OF GUJARAT AND RAJASTHAN For Private and Personal Use Only 51

Page #55
37. On the basis of the personal visit to the place with Dr. P. C. Parikh. 38. Palana, Narotama - "Saurastra-ni Virala Murti Bakasura- vadha', "Kumara", year 49, No. 583, July, 1972, p. 275. Bhaisankara Sihori - 'Sihora-ni Pracinata', 'Gujarati Sahitya Parishad', 6th Session Report, April, 1920, pp. 177-78. Photographs of Rajasthan stepwells and Tanks Provied by Richard Cox (UK). 39. Bha Rani vava, Patana 20171 : y. 24, vis 3-8, zulsei. 2006 - Hz, 2006 For Private and Personal Use Only

Page #56
Shri Mahavir Jain Aradhana Kendra Rudabai's Vava - Adalaj Rani-ni-vava - Patana Dada Hari's Vava - Asarva, Ahmedabad SOME UNIQUE STEP-WELLS AND TANKS OF GUJARAT AND RAJASTHAN For Private and Personal Use Only 53

Page #57
Shri Mahavir Jain Aradhana Kendra 54 Raniji-ki-Baori - Bundi www.kobatirth.org MEN In BAY Neemarana-ki-Baori - Alwar Shaktikunda - Akhaj sAmIpya : pu. 25, aMka 3-4, okTo. 2008 - mArca, 2009

Page #58
Surya Kunda - Modhera Chano Baori kunda - Abhaneri (Dist. Dausa) Brahma kunda - Sihora SOME UNIQUE STEP-WELLSAND TANKS OF GUJARAT AND RAJASTHAN For Private and Personal Use Only

Page #59
Acharya Shri Kailassagarsur Gyanmandir Ethical Values Regarding Education in Early Upanisads Dr. Swati Shah* The earlier text of philosophy is Upanisads which is related with the Veda. They depicted the contemporary educational scenario. We find different aspects which really convey the thoughts about education in society yore. The teacher of the Upanisads dispense the knowledge through dialogues and question-answers. The meaning of the word Upanisad is, 'originally session, particularly a session consisting of pupils, assemble of a respectful distance round their teacher.' So, in Upanisads, we find teachers and students and their inter-actions, the system of giving and receiving the knowledge and direct-indirect teaching of ethics. Here we must remember that in India, there was not ever question whether the art is for the life or the art for the art sake. The ancient thinkers and educationalists thought about the life from every of its aspects. The expression in the art expression through philosophy expression, through different sciences, all the expressions went hand in hand. Education in ancient India touched all the aspects of different arts as well as different sciences that is why there are 64 arts and 14 sciences. All these were taught along with the ethical values in life. The style of edcation seems to revolve around the life as the centre of it. The centre was never forgotten in the process of learning instance of which are scattered in the literature and the different scientific treatise. When one speaks about Upanisadic text, they are talk about the treatise of education, they also teach ethics in life and educational ethics. The earlier text of the Upanisads are full of instances their bookish education was not important as was the ethics of it. Upanisads dispenses highest of the knowledge. Brihadaranyakopanisad speaks about the anecdote, the anecdote of Gargya Balaki. (adhyaya-2/1-3). He came to teach Ajatasatru the knowledge of Brahman. Within no time he realized that Ajatasatru was knowledgeable and realized one than him. This realization did not belittle his confidence nor did it create anger or inferiority complex. He surrendered before the realized Ajatasatru and implored him to teach the highest knowledge with the words, 'I come to thee for the instruction'. (Upa tva yaniti.) This is an example of self less humility. Chandogya Upanisad narrates the famous story of Svetaketu. (adhyaya-6) Svetaketu returned from gurukula. The learning made him conceited (arrogant). His father Uddalaka asked him that, 'Did you know that' by which every thing can be known ?' Svetaketu, * Dept. of Sanskrit, Bhavnagar University, Bhavnagar 56 zurlu : y. 24, vis 3-8, vsel. 2006 - Hz, 2006 For Private and Personal Use Only

Page #60
thoguh he was conceited he was intelligent one. He realized that there was much more yet to be known. He was humbled by the more thought that he hardly knew anything. He wanted to seek 'that' by which everything can be known. Svetaketu's sudden transformation only shows that the quest for knowledge comes before any personal feelings. As expressed about, it is the primary and final ethic of the Upanisad that the education teaches humbleness and humility-a cup can not be filled unless it is exmpty. Ego and conceit are the greatest hurdles in the way of knowledge. One must bend as low as the earth to search the finest grains of knowledge hidden in the infinity. Chandogya Upanisad relates the story of king Janasruti Pautrayana. (adhyaya-4/1-3), the story goes like this king Janasruti was famours for his good deeds and merits he had acquired. One day he heard two birds speaking about the highest merits of Raikva, the cart owner. For a moment he felt uneasy by the thought that could there be somebody meritorious than himself ? The thought was strong enough to make an obstacle in his way of knowledge. He searched Raikva. Raikva was very poor-bull-cart-owner, who slept under his cart on the ground. King approached him with several gifts and humbly inquired abut the highest knowledge. King did not mind to sit on the ground and go down before the shabby cartowner. The knowledge is important and the container of the knowledge. This seems to be the central idea of our culture. In spite of personal feelings and person the flow of knowledge must flow on. The process of knowledge continuing from one generatin to other and giving and taking of knowledge is reciprocal. The instances of eager students are sited. One thing is clear that the true disciple is never denied the knowledge. Simultaneously equally eager teachers to dispense the knowledge also is necessary. A teacher should understand the thirst and capability in a student and he should give the best he could. Guru must give and even the disciple must take so, that the continuity of knowledge remains uninterrupted. The famous story of Nachiketa is the finest example of the teacher and disciple. (Katha-Valli-1-3). Nachiketa was determined to attain the knowledge of death i.e. the secret of eternity. Yama, the Lord of death, outright denies the knowledge in the beginning. Nachiketa was determine through Yama offered him the best of the worldly pleasures like long life, the immense wealth, kingdom, beautiful women and anything, Nachiketa wished. These attractions did not dieter the true spirit of worthy Nachiketa. Yama finally instructed him in the secret knowledge of death and eternal life. Educational pattern depicted in early Upanisads is well-known and taken as the representative educational pattern in ancient India. Jabala went to the Guru Haridrumata Gautama and requiested Gautama to accept him as the disciple. Gautama accepted him and said that, 'let me give you the secret thread and you will be my disciple.' (Chandogyaadhyaya 4-9). The secret thread is a symbol of a disciple. It shows that the going near the guru and acceptance by guru is the simple procedure to start learning. Disciples live with guru as long as they continue learning. Their well being totally was guru's concern. They Ethical Values Regarding Education in Early Upanisads 57 For Private and Personal Use Only

Page #61
lived there as the family members of the guru, enjoyed the affection and contributed to the house-hold by performing different duties in the abode of guru. The main principle of teaching and learning was humility. Inculcating and in biding the importance of these virtues since to be the main aim object of the contemporary educational system. When one goes through the convocation speech in Taittiriya Upanisad the most important aspect comes forth. This aspect is one should do corrct in behaviour, that behaviour should not be contradictory to the existing society and its ways and customs. One should not forget once duty towards parents, teacher, society and the respectable. It is very clear that the knowledgeable and knowledge are given the highest place, since it is said that, 'Do not neglect truthfulness, Do not neglect duties, Do not neglect your well-beings or health.... You should give with faith,.... You should give with sympathy..... Further if (even) once a doubt assail you with regard to the action of some one or doubt assail you with regard to the conduct of some one..... Finally, if you come in contact with such as are rebuked (for their conduct), see whether or not the brahmans before you are of right judgment, are fit and such as will stand the test, not harsh but conscientious in their duties; therefore, you should behave with them just as they would behave with those (or their ilk). (Taitti. adhyaya-1/11) Even, if one has any doubt, regarding any action or ritual, one should always consult the experts in the society, one should always follow the right examples.' All the thoughts point only truth, the truth that is the great immense of knowledge and the right and humble behaviour in society. Even today these two things help never ever did not lose their priority nor will they. Reference : The Upanisads, F. Max Muller, Part-1, P. lxv 1. 1. Bibliography: Seribufde, ollal U21, 022442, ca.zi. 2057. Indian Philosophy, S. Radhakrishnan, Oxford University Press, New Delhi, Eleventh Impression, 2004 Sixty Upanisads of the Veda, Vol.1 & 2, Paul Deussen, Tra. by V. M. Bedekar and G. B. Palsule, Motilal Banarsidas Publishers, Delhi, Reprint-2004 Ten Principal Upanisads (with Sankarbhasya), Motilal Banarsidas, Delhi, Reprint-2000 The Upanisads, F. Max Muller, Part-1, (S.B.E.), Atlantic Publishers & Distributors, New Delhi, 1990 58 zute : y. 24, vis 3-8, vulsel. 2004 - Hz, 2004 For Private and Personal Use Only

Page #62
Birds in Sanskrit Literature - Dr. Tejani Gautam Munshi* The Rigveda, concerned chiefly with the soma cult, mentions only about twenty birds which, however, does not imply that the Vedic poet's knowledge was confined to those birds only. They must have been familiar with birds of their neighbouring forest. Their powers of observation, love of birds, prejudice against some may be briefly illustrated: RV 1.164.20 presents a beautiful picture of two birds-one of beautiful plumps of e.g. the Golden Oriole and the other a bird of prey (auf an Eagle)- sharing as friends a common tree for their adobe, and while the former enjoys the sweet berries of the tree (Ficus religiosa) the other, not eating the berries, keep a look out (for prey) preached high up on the tree. RV 2.42 and 43 describe the welcome pleasant notes of the auspicious grey Parting (f) and the poet lovingly blesses the bird that it may not fall prey to a hawk or to a bow-man. Further, it pays it high compliment by describing its sweet notes as a (song of praise). On the other hand, the rock Pigeons (4) and the Hooting Owl (3) are condemned as birds of ill omen in RV 10.165.4. Acharya Shri Kailassagarsuri Gyanmandir The Atharvaveda also shows familiarity with birds of prey like the Larger Falcon or the Red-headed Merlin who hunts in pairs (fi, AV 7.70.3). The Mutual attachment of a pair of a Brahmin Ducks () who keep together during the day and move apart during the night in search of food among water plants but keep in touch with one another by mutual calls is the basis for pronouncing a blessing for mutual love upon a newly married couple in AV 14.2.64. By the time of Samhitas of the Yajurveda came to be composed (c. 1000 B.C.) the Indo-Aryans had become familiar with many more birds and able to teach the Hill Maya and the Parrot (and) to repeat human speech, and priest at the horse-sacrifice dedicated them to t, the goddess of speech, and to (VS 24.33). They had also observed the parasitic habit of the name of the Indian Koel lying its eggs in the nest of crows, and allotted it under the name of 34 to the half months because it assigned the work of brooding on its eggs and bringing up the young to others (VS 24.37). Yajus Samhitas mention about sixty birds in all in the litany of the horse-sacrifice. The broad V-form of a flight of Demoiselle Cranes was copied by the Pandavas in their war against the Kauravas for the arrangement of a squadron under the name of a (MBH 6.51.1) and this formation has been well-defined in effe ch. 4, sec. 7. 297: "As the flight of cranes across the air assumes a regular formation, so should the state's army (G) (dezabala) be arranged when at war like the kauMcavyUha. " Like the crane the bareheaded Goose (kAdamba haMsa) * Lecturer & HOD, S. R. Mehta, Arts College, Ashram Road, Ahmedabad Birds in Sanskrit Literature For Private and Personal Use Only 59

Page #63
is also winter visitor in India sand a flock takes to wing in V-formation, and the monkey force of Rancandra, assuming the form of Geese in air (Hasit 591) attack the demon force of Ravana (Ram. VI. 69.36-37). The returns of the Geese to the Indian lakes and tanks in winter has been very compassionately mentioned in Vishnu Puran, V.10.9: : "Likle an imperfect ITA who naturally suffers from worry and many an obstacle, the Geese (H) who has deserted the tanks and lakes earlier, have come back again to them (and run the risk of being killed by archers for food)." In the Raghuvamsa XIII.55 flocks of the orga are said to visit India from the Manasarovar lake, and the Himalayan passes through which these birds and the crane fly over to India are called here and are respectively. By the time AV 20.135 came to be composed, the prejudice against the pigeon had disappear, for in verse 12 of the hymn, India is said to have helped a wounded pigeon with food and water; and we also note it as pet bird (1641) in Hifra cafta 4.17. We have seen above how as early the age of the Yajus Samhitas, Parrots and Mynes were trained to talk, and we may not be surprised if practice of keeping numbers of pretty birds had become common with kings and the rich, for we find in Act IV of egohfcon that the courtsan a t maintained a large verity of birds in her palace including a parrot which could repeat even verses from the Veda. Pet birds were also common an all hermitages. Love of the calls of certain birds explain the comparison of the tones of music with the pleasant voices of birds like the Peacock , Hawk-cuckoo, Sarava Crane, and the Kokil in Hari I.3.46. On the other hand, the silly pride of a physician went so far as to compare the pulse beats of certain patients with the gait or step of a geese, peacock, dove. Pigeon, cock, quial, partridge etc. in the book is tohtgt where the author proudly declares that he has indicated the best method of judging ailments for the ignorant physicians: Some popular maxims have also been coined after the ways of birds, e.g. archaisita 14, Erichara PR, 3TUE hoonet zy ohlaferiche etc. The last of these is based upon a wrong belief that the crow has only one eye-ball because the bird, when looking down from a high perch turns its head both right and left. The Eary R4 is clearly reflected in the Pro VI. 28, where the (Goose) is credited with the habit of sucking up only pure milk from a mixture of milk and water. This, however, seems to be poetic extension of the Sun as a Swan or Goose ( TY, RV 4.40.5) who sucks of pure water (it, R. V. 1.164.7) with his rays from even muddy pools. In the Bh. P.X.15.11-13 fondness of Sri Krishna for sweet notes and songs of birds and the dance of the Peacock, is said to be so great that he learn to limited them quite correctly. In the Gita (10.30) he identifies himself with 102, the best of the birds-a-try was the one who robbed the soma or amRta well-guarded by the marutasa in the suparNAkhyAna. The slow and graceful gait of pretty young women has often been poetically compared 60 zuil : . 24, vis 3-8, zulsel. 200C - HIRI, 2006 For Private and Personal Use Only

Page #64
to that of a domestic Goose, e.g. in a 8.59; 54R. 1.34; and adgator II.2.37; fontaneria 8.29; 400fco 4.28. The authors of the original Epics would seem to have presented a more accurate picture of the wild scenery including animals, birds and trees, places known to them, but we cannot say the same of the later interpolation, e.g. the extravagant description of the T8TH area of the Himalayas in FETT. III. 158.44-45 where the tropical trees, coconut and the jeckfruit (713127 and 4UT) are said to grow; verses 43-47 of this chapter of the 46918 have been copied with slight changes in the House giro ch. VI. 10-22 to describe the jungle surrounding the holy city of Gifschil so that the Himalaya bird achite and the tree task appear to be natural there. The practice of divination from the ways, movements etc. of birds (all animals) was common to all primitive cultures. (Ency. Rel. and Ethics, s.v. Augury; Divination; Omens) and India was to exception to it. Books like the cfat SETT, PATRIG 2017 and also Purans (e.g. 37fchs. 230-232, Hrahusu chs. 51.66-72) deal with the subject. The aifecite 37efrita recommends the protection of auspicious and even other pleasant and cheerful birds and animals in pleasure grounds and the practice of sending information about the enemy by letters tried to homing pigeons carried with him by the king's spy is commended and also referred to in bRhatakathAmaMjarI. We have a good example of sympathetic magic in the urin TEE where the first solid food commended for a six-months-old baby-boy is, (1) flesh of the female Skylark (HRGIT) if his father wants him to be a fluent speaker; (2) the flesh of the auspicious grey Partridge (of yout) associated with field crops for abundance of food; or (3) the flesh of the Little Ringed Plover ( 21) for long life; or (4) the flesh of the black Ibis (341fe) for holy lustre TE4. The Black Ibis (a holy birds in Egypt) wears in triangular patch of crimson warts on the crown of its bare black head, a picture of a conical pile of red embers (371) indicative of its holiness. CROWS & THEIR ALLIES : RAVENS & CROWS In the Crow tribe we find "bird brains at their highest", and recognition of the virtues and vices of the common Crow is writ large in Sanskrit literature, the Jataka-Stories and FolkTales. The folchilarity of the Ta for example, is fully illustrative of the wisdom and shrewd cunning of our friend, the House-Crow. Popular tradition places him on footing of equality with that universal character, the barder. : narANAM nApito dhUrtaM pakSiNAM caiva vAyasaH Among Indian birds, the Crow enjoys the distinction of having the largest number of Birds in Sanskrit Literature 61 For Private and Personal Use Only

Page #65
names and adnouns or epithets in the Sanskrit language. The 16h0459 has collected no fewer than 36 synonyms for the common Crow and yet the list is by no means exhaustive. The expression on chilft used in artiferit, ch. 11, stands for the 'the Crow family or Corvidae, and both data and are are is general use for any Crow. The poets, however, have often used synonyms like karaTa, dhvAGa, balipuSTa, etc., to suit their verse. Generally speaking, Indian Crows may be placed in the following seven easily recognizable categories : (i) The all-black Punjab and Tibetan Ravens (length 26"-28") which are quite as large as, though lighter than, the Common Pariah Kite (zakuni), and they are the kRSNazakuna or kRSNazakuni of the Vedas and droNakAka (druNa hisArthe) of literature (ii) The Brown-necked Raven of Sind (22") of an umber-brown colour, more so on the neck and shoulders, is the TORTUT of His rut and probably recich of the lexicons. (iii) The Carion and Jungle Crows (19"), entirely black, heavier than the House-Crow but much smaller than the Raven is the kRSNakAka, kAkola or simply the kAka proper in a specific sense. They are also the area of AV. 11.9.9 and 12.4.8. (iv) The Rook (19") is wholly black but the adult bird has the basal third of its bill almost white. It is the faster anlah or the Black-and-white-billed Crow of CHRIS and probably the 7811 h alati of the lexcons. (v) The Eastern Hodded Crow (19") has the entire head and neck the central part of the upper breast, the wings and tail glossy black. The upper and lower back and underparts are drabgrey. It is the hair colon, the 'Black-faced' Crow of a RTS. (vi) The House-Crow (17") which appropriates the daily ferafst of the twice-born, and the offerings to the dead is the balipuSTa kAka or Dudga/dva. It bears the distinctive name of bhismacchavikAka after its grey neck and breast in Hi .. It the return of the lexicons. (vii) The Jackdaw of Kashmir (13"), migrating in winter to the near-by plains, is the caurikAka (thieving (Crow) of Mahabharata and paJcamakAka of vasantarAja. As a preliminary to a detailed consideration of these varieties, workable classification of Crows may be referred to here. The Floryferchtet mentions three kind of Crows, viz., (a) stuhlah, the Raven, (b) alch, the all black crow like the Carrion and Jungle Crows, and (c) vAyasa, the House-crow. The SaDviMzabrAhmaNa, 6. 8. also distinguishes between kAka and vAyasa, the distinction has been observed in the Mahabharata and the Puranas where punishment based upon the doctrine of re-birth are provided for the petty larceny. NUTHATCHES The Nuthatches of the North and the Central India are small birds, not over 6 inches Hulu : y. 24, vis 3-8, zilsel. 200C - Hizi, 2006 For Private and Personal Use Only

Page #66
long, and have a similar habits. In colouration also are blue-grey or bluish above and different shade of chestnut below. They are birds of mango-tops and other tree and keep to tree-trunks or branches and feed on insects and worms and also nuts if available. They are more often heard than seen, and it is their sharp notes and sound of the hammering on the bark of a tree or on hard seeds or nuts which help to locate them. All have black-bills except the vavetfronted Blue Nuthatch which has a coral-red bill. They are known as the ori in Hindi, cora parakI (the invisible Little dove in Bangal) and siMdhyI kipa (the'siMdhyI' bird) in parakI in Assam and I think they should be connected with some of the Sanskrit bird names like zilIndhrI, kandalI, karaka, kavaka, kapotI or kapotikA occuring as below : (1) "zilIndhaM kadalIpuSpe kavakatripaTAkhyayoH zilIndhrI vihagI" - hemacandra (2) "zilIndhrI kadalIpuSpe karakatripuTAkhyayoH - - - zilIndhrI vihagIbhidi" - vizvaprakAza. (3) "kandalI mRgapakSi vizeSayoH" - medinI (4) "pArAvata: kapota: syAta kapoto vihagAntAram" - zAsvata koza. (5) "kapota pArAvate syAt kavakAkhayaviG game" - hemacandra, vizvaprakAza. (6) "kapotaH syAtkalakhe kavakAkhyavihaGgame" - vizvalocanakoza The following subsidiary equations should help in construing the above :"gomayacchatrikAmAhudilIraM ca zilIndhrIkam" - hArAvalI zilI = ganDUpadI, a kind of worm - hemacandra, amara zilI = stambhazIrSa - medinI karaka = pakSibheda -hemacandra kavaka = Mushroom-M.Williams. "kandala triSu uparAge navADakare kaladhvani, zilIndhrapuSpe" - medinI "kapota aJjane'pi syAt" - vizvaprakAza Now farsit being both 'a worm' and 'the top of a column' offers a reasonable derivation of fresh from the two different senses of the word for it with the root ? 'to hold.' As a cather of worms farcit would be a bird, and as resting on or holding the top of a column zilandhrama would be chatrAkam a mushroom. If the bird also is in the habit of holding on to the trunk (column) of a tree it would be properly called a FTCT-7, and its small size would justify the form forciteit just as facit should mean a small bird in addition to being the feminine of fe'l (any bird). "kandalI" means -- a new shoot' prabAla which is often of a delicate shade of red and hence also 'a light red colour' (uparAga). The propriety of this name for a particular bird should .depend on these senses. The red colour of the bill (resembling a new shoot) of the vavetfronted Nuthatch, when it is resting face up against a tree-trunk- quite a common attitude for it with the body colour merging with the dark colour of the tree, would seem to justify the name Birds in Sanskrit Literature 63 For Private and Personal Use Only

Page #67
Checit for it. The orange-red bill of hifich (Indian Grackle) has been compared with foG (a red shoot) by 5: - .......... PASTI Sect campakasyeva kalikAM bibhrAnA caJcukandalIm" E THRT, 8.708 This seems to strengthen the above identification. "FICI '' is also the flower of the banana which has a maroon red calyx when open. The Cinnamon-belled Nuthatch, which has deep chest-nut lower parts, can well claim the name for itself. For similar reasons orgot as a would be the large Red Flying Squirrel. PEAFOWLS, JUNGLEFOWLS, PHEASANTS, AND QUAILS This family includes all birds properly classified by authorities like caraka and 'viSkirAH, through the partial lists of such birds given by them include just a few which according to the present-day scientific classification are outside the order Gallinae but which, from their habit of frequenting the ground either for food or otherwise appeared to belong to the 'Faroche group. For example the list in Rot includes the arata, the short-toed Rufous Lark, and nich, the adjutant Stork, the former of which somewhat resembles the Quail in its habits and the latter seeks its food from refuse heaps like the Common Cock; also ac, the Great Bustard, and ars, the little Bustard-ground birds of Order Grallae which look somewhat like a peacock without the train. suzruta includes naptukA, the Nightjar, vAtIka, the short-toed Rufous Lark, kalaviGka, the magpie Robin and Blackbird, HRS, the little Bustard, and also the laughing Thruses and Bablers. The Nightjar keeps to the ground during day-time and others find their food chiefly on the ground. Subject to these exceptions the lists are fairly representative of the Gallinaceous of India "abhidhAnacintAmaNi gives zikhaNDika and carmacUDa in the lists of names for a Cock, and medinI and others have farcit and forcus for both Cock and Peacock. ferafusch and foreit (both meaning 'one having a crest') are best interpreted with reference to the synonymes for forer : "251 on it turst fyrai farafusoht A:" - Both the terms thus clearly apply to the Peacock and such Cocks have a featherly crest contrasting with the common Cock and Jungle-fowl who have a fleshy comb and are therefore the ones de strictly so called. Fifa $ are, therefore, the Cheer and Kalij Pheasants as a group as a they have featherly crests. For the same reason the Peacock is feifa, Ferala, etc., and Monal is fofa and more specifically ai or home. It has observed the distinction by naming mayUra, kukkuTa, and yavAlaka (the 'white-crested Kalij') as representing three different types separately, and in a similar way of names at (Peacock), 64 zuil : y. 24, vis 3-8, sulsel. 2006 - muzi, 2006 For Private and Personal Use Only

Page #68
kukkuTa, indrAbha (Molnal) and raktavartmaka (the Cheer and the Kajil Pheasants as a group as they have red skin surrounding only the eyes which distinguishes them from the Junglefowls which have the whole face and head covered with bare red skin and hence described as a (red faced) in bRhatsaMhitA, 62,1. The mahAvyutpatti 213 mentions mayUra for the Monal, yahIM Pheasant, and kukkuTa for the common Junglefowl padmapurANa mentions kukkuTa, zikhI (zikhInaH, crested Pheasants) and mayUra but permits only the last as food zikhI, mayUra and kukkuTa (crested Pheasants, Peacock and Cock respectively) are mentioned in three consecutive paragraphs of theifel iassic, as we shall see, is strictly the Peacock Pheasant but the later Purana literature seems to have grouped all the Himalayas Pheasants, principally those that occur in the Central and the Western Himalayas as farsi fa (the Pheasant tribe): - mattakauzcemayUrANAM nAdairUpadhuSTakandare / jIvaJjIvaka jAtInA vIrudhirUpazobhate // jIvajIvakajAtInAM virAvairUpakUjite / Acharya Shri Kailassagarsuri Gyanmandir --- cAtakaiH priyaputrezya jIvanaJjIvIkajAtibhi: / The common name for all Patridges is fafe and for all quails afe through quite a number of well marked species in the both the groups have specific names in Sanskrit. These will be given under each group of birds. ORIOLES vAyupurANa, 54, 33. brahmANDapurANa, 1.25.28. brahmAMDapurANa, 68,16 The Orioles are beautiful birds of golden-yellow and black plumage except for the Maroon Oriole which is maroon and black. Three varieties of the Oriole, the Black-headed and the Maroon, occur in the North India, the last in the Himalayas only. They are strictly arboreal and keep to the tree tops, rarely descending to the ground. They are very active birds and, though shy and secretive, indulge in aerial games, following each other from tree to tree and darting through the foliage with their bright plumage flashing in the sun. Their voice is a loud mellow whistle of several notes which is heard "alike in garden and forest, greeting the dawn and saluting the parting day." The yellow Orioles of both the species "often build in the same tree as holds a nest of the Black Drongo. That this is by design rather than accident can scarcely be doubted, considering how frequent the occurrence is. It is certain also that by this means the birds must enjoy a degree of protection against marauders like crows and treepies -inveterate stealers of other birds' eggs. The king Crow will tolerate the proximity of his harmless dependents with complacency, but a crow has only to show himself in the precincts of the nest-tree to be furiously set upon and beaten off by the valiant, 'kotwal' and his wife" (Salim Ali). They cat fruits, chiefly the berries of peepul, bunyan and other fig trees. For Private and Personal Use Only The oldest names for the Golden Oriole are to be found in the Rigveda (i) which it shares with the Golden Eagle, and (ii) probably also eft The "i" in the following well known verses are no other than the Golden, or some other Eagle and the Golden Oriole, nesting together on a fig tree, the Oriole, for protection. Birds in Sanskrit Literature - 65

Page #69
"dvA suparNA sayujA sakhAyA samAnaM vRkSaM pariSasvajAte tayoranyaH pippalaM svAdvattyanaznatranyo prabhicAkazIti // yatnA suparNA pramRtasya bhAgamanimeSaM vidathAbhisvaranti ino vizvasya bhuvanasya gopAH sa mA dhIraH pAkamanAviveza / / yasminvRkSe madhvadaH suparNA nivizante suvate cAdhivizve tasyedAhuH pippalaM svAdvagre tantrotrazadyaH pitaraM na veda // On the high probability of a pair of Orioles sharing a bunyan or peepul tree with a pair of Eagles I cannot do better than reproduce Col. D. Radcliff's remarks quoted by Hume in his book, Nests and Eggs, 2nd. ed. - "It is always the case with the larger Falcons that their fellow tenants of a rock or a tree are safe from molestation and in the breeding season actually look to them for protection." That birds of prey permit smaller birds to nest in close proximity to themselves including even those on which they normally prey is now acknowledged to be almost a universal fact (S. Baker on the Lagger Falcon in F.B.I. 2nd Edn.). The Golden Eagle has been known occasionally to place its nest on a tree there is reason to believe that in the long past he did more often than now, for one of his oldest names is chat or 21167heit (nesting on Bombax malabaricum): "su zU parvaNyavasAnaM mahAdrau kRtvA nIDaM zalmalau taM mahAntam gurutmantaM garuDaM vainataiyaM patatnirAjamavase johavImI // " Suparnadhyaya, 31.1 The Imperial, the Steppe and the Tawny Eagles breed as a rule on trees including the peepul in the plains of North India and everyone of them is a quf in the wider sense of the word. It is, therefore, more than probable, any, almost a certainty, that the author of the above verses had not only seen a pair each of Eagles and Orioles nesting together in a peepul but had also observed how the Eagles kept away all marauders from the tree and the Orioles were happy under the protection thus afforded to them. These facts combined with the grandeur of the tall, leafy tree laden with fruit brought to his vivid imagination the similar situation obtaining before weak and dependent humans and their heavenly protector, and he, therefore, proceeded to illustrate the great spiritual truth with a parable drawn from nature. With the growth of the civilisation and culture of the city as against the earlier life of farm and village even the learned Brahmanas lost touch with nature and forgot the names and identity of many of the birds so beloved of their early ancestors. This divorce between the city, which now became the principal seat of learning, and the village was completed long before the time of Hero 6 (c. 700 to 1000 B.C.), for he too does not say what exactly were the two particular birds mentioned in these verses. He and his successors, commentators including Hruari, undoubtedly knew that qyuf was an Eagle, but their difficulty was about the second fruit eating qyuf and they, therefore, interpreted the verses in the best way they could. The air was already thick at the time with Upanisadic speculation and philosophy of the 3T4 and 66 HIVU: 4. 24, vis 3-8, sal. 200C - HL, 2004 For Private and Personal Use Only

Page #70
44 and the verses describing the two birds sharing a common tree came in very handly to illustrate that philosophy. Accordingly Sayana begins their exposition with "tra laukikapakSidvayadRSTAntena jIvaparamAtmAnau stuyete" GRACKLES OR HILL-MYNAS The Grackle is popularly known as the Hill-or the Talking Myna. Apart from its glossy black plumage its distinctive features are fleshy yellow wattles on the head, bare yellow skin on the sides of the face, and orange yellow bill and legs. In the Rigveda (1.50,12) it has been called ch from ch, 'causing a cicatrix' (also perhaps a cicatrix or healed wound) in reference to the wattles and the bare skin that characterize the bird. These features are supposed to be healed scars as it were. Its later name RUST is also derived from us, a boil or pimple on the face. There are other bird-names as well formed on the same lines, e.g., the Black Ibis is called from, a scar, because of the bare and pimpled head of the bird and the Red-wattled Lapwing sadAlUtA (lUtA carmavraNedhanvantari carrying permanent pimples on the face) :- "TiTTibhI pItApAdazca sadAlUtA nRjAgara: " dhanvantari-nighandu, ropaNa also means an arrow i.e., zalAkA which letter has formed the basis for its name H or simply in the Lexicons. The name means 'the dart of the God of Love' because the bird was taught by professional trainers (cf. fe as one of the 64 Fine Arts) to repeat little 'bons mots' and love-phrases to remind a busy aristocrat or king, passing through his or harem, of the undying love for him of its(bird's) lady-patron, or to invite him to particular queen. I doubt if the Vedic name was derived from ch in the sense of `an arrow', but madanazalAkA is certainly comparable with "kAmazalyAmiSu" in AV. 3,25,2. The Grackle or Talking Myna was also known is a Sanskrit by the name from, Names like kAdambarI ( kad + ambara, black-plumaged) and the allied couples like, dUtI and yAsA ('love messenger', and 'one exerting for a lover' respectively), oh and (giving pleasure), and (a good talker) for the bird are merely lexical pedantry. Them seem to have been invented for use in a double sense in puzzles (prahelikA ) and puns ( zleSa ). Birds in Sanskrit Literature Acharya Shri Kailassagarsuri Gyanmandir It shares also the name ft (v.1) with the Common Myna (Art 21), and which of the two birds is intended in a given passage must be made out from the context. I as a talking cage-bird is the Grackle, but as a bird of illomen, or a noisy one, it is the Common Myna. To cite but one example of each from the - "nUnaM hi lAlapyate sItA pajjarastheva zArikA" "vIcIkUcIti vAzyantaH zArikAvezmasu sthitA: patanti grathitAzcApi nijitAH kalahaiSiNaH" - 5.13, 16 6.35.33 For Private and Personal Use Only 67

Page #71
The second passage is a perfect picture of the Star Hifi, the noisy or quarrelsome Common Mynas often given to fighting with their own kind. CUCKOOS The parasitic nature of Cuckoos has long been known in India as we find one named as anyavApa in the vAja.saMhitA, 24.34. Other common names are parabhRt or parapuSTa. These are usually applied to the Himalayan Cuckoo and the Koel but the expression que la evidently includes the alcoh group as well: "dhanyaM dhinoti vacanaiH zravaNAnukUlaiH anyaM dunoti paruSaiH parapuSTajAti:" f4a1714, 74.8, AICI, 87 In this verse a love-sick person complains principally against the Cuckoo but generalises against the whole tribe including the Hawk-Cuckoos, the Pied Crested-Cuckoo, etc. Whose calls are not welcome to a separated lover. Cuckoos other than the Black Koel cuckold small birds of different kinds, e.g., Babblers, Chats, Pipits, Wagtails, etc., and knowledge of this fact on the part of the ancients is fully reflected in the names given above and in the half verse from ylleprint given below: "prAgantarikSagamanAt svamapatyajAtaM spilgt: Prya: 92f7" - 4.72. The Koel of the plains on the other hand victimises the common House-Crow and occasionally the Jungle-Crow, and is therefore called alone. The male bird's loud call of 'The ' has given us names like a chur gey etc., for it and the name Free for the night of the New-moon which is supposed to be as black as the bird itself. Sanskrit foly appears to have been formed on a false analogy with the Prakrit Sary 143 though, independently of the latter, it can stand by itself as "Crow tailed" which, however, is quite colourless and uninteresting. Chirag f43050 (alfatah - the Crow's father's sister) for the female Koel, on the other hand, seems to be an excellent name based upon the bird's parasitism. In India a sister often leaves her little children with a brother for rearing them and this is exactly how the female Cuckoo deals with her supposed brother, the Crow, and hence her nick-name, 'the Crow's aunt'. The Koel shares the names of chat and f90 with the European and the Asiatic Cuckoos which breed in the Himalayas and, very sparingly, on the hills in certain parts of the country. It is therefore difficult to say whether a given reference is to the Cuckoo proper or to the Koel. 371914 in "3R S 4647774'' - V.S., 24.34. would be the Cuckoo if the Samhita was compiled in the North-West, for the Koel is non-existent in the extreme North-West and rare in the Punjab, but if the compilation took place in the 000 it is more probably the Koel. The reason for the dedication of the bird to the deity presiding over the Half-months is apparently 68 zut : 4. Bu, bis 3-8, zusal. 2004 - HZ, 2006 For Private and Personal Use Only

Page #72
the fact that the bird performs only half its part in reproduction and the particular name chosen emphasises this PAROQUETS OR PARROTS The Parrots of North India have been divided into two genera, one of which is represented by five and the other by a single species. They are all of a predominantly green colour and differ little in their habits. Though normally arboreal they are attracted in large flocks to ripening crops like paddy and sorghum (juar) to the great despair of the cultivator and have been regarded with birds like the Buntings (377764) as one of the natural calamities ($94:) befalling a country. All the same, their brilliant plumage, quaint habits, ''sedate and knowing demeanour" and, above all, their teachability to talk and perform tricks have endeared them to the people and made them one of the most favourite cage-birds of India from very ancient times. "The Parrots rank as among the most intelligent of birds. The mere talking to which they can be trained is nothing. The wisdom of the bird judged by this standard, in inferred from the degree of appositeness with which it utters its phrases." (Harmsworth Popular Science, p. 2978). The European students of Indian bird-life do not, however, credit any of the Indian species with ability to talk beyond a few words; nevertheless, Sanskrit literature attributes considerable ability to thein in this respect and whole verses have been placed in their and the Hill-Maina's mouths. A couple of such examples are reproduced below: is warraf Elfur ! 09 24: 1 kopaM muJca mayi prasIda subhage ! naivaM vidhAsye punaH // " bhAva-zataka 54 The following half verse may well have been taught to a royal Parrot in the ordinary way though the next two lines (not reproduced here) give it a topical setting. On the defeat of his royal patron, the bird, released from his cage, is supposed to address a painting of his master in the royal Picture-gallery: "rAjan ! rAjasutA na pAThyati mAM devye'pi tUSNIM sthitAH / kabje ! bhojaya mAM kumAra sacivairnAdyApi kiM bhujyate // " kAvyaprakAza 10.94 If such examples had not been true a compliment like cATu-gAthA-samuccAraNa contained in the following beautiful passage would not have been paid to a pet bird. The poet describes goddess yra as playing with her pet bird - "sarvavidyAvizeSAtmakaM, cATugAthAsamuccAraNaM, kaNThamUlollasadvarNarAjilayaM, komalazyAmalodArapakSadvayaM, tuNDazobhAtidUrIbhavatkizukraM, taM zukaM lAlayantI parikrIDase // " kAvyamAlA 1, zyAmalA-daNDaka 5 nor would poet 44a have written: Birds in Sanskrit Literature 69 For Private and Personal Use Only

Page #73
Acharya Shri Kailassagarsur Gyanmandir "zukaH zlokAn vaktuM prabhavati na kAka: kvacidapi'' kAvyamAlA 14, dRSTAntakalikAzataka, pR0 86 Compare also: "nityAkarNanayA zakena ca padaM sAmnAmidaM gIyeta" nAgAnanda 1.10 zukasArikApralApana was one of the arts practised in India by professional men like the trainers of Song-finches, Thrushes, etc. in Europe today, and no one need be surprised at the performances of exceptionally talented Parrots and Mainas recorded in Indian literature, 1 barring, of course, poetic exaggeration in a attributing to them human intelligence and capacity to make impromptu replies or even to carry on a conversation. I have myself heard a Roseringed Paroquet repeat the following Hindi verse without a hitch though the articulation was certainly not equal to that of the Maina citrakUTa ke ghATa pai bhaI saMtana kI bhIra / tulasIdAsa candana dhisai tilaka deta raghuvIra / i.e., "'In the midst of a gathering of saints at the waters near Chitrakoot Tulsidas prepared the sandal-paste and God Ramachandra applied it to his forehead," Literary tradition has regarded a talking Parrot (907), as the mate of a talking HillMaina (Alfon) and it is on this supposition that ca is a Parrot and el a Maina, and if he is medhAvI she is medhAvini which, by the way, is also the name of a most intelligent Maina in ratnAvalI, 2.5.6. Even Kesava, the commentator of the kauzikasUtra, would seem to have succumbed to this tradition, for he renders ropaNAkA of AV. 1.22.4 as kASThasuka and, following him, Sayanacarya also has translated ropaNAkA (loc.cit.) as kANThazukAkhyapakSI and again as zukAM or female Parrot in his notes on taittirIya-saMhitA 3.7.6 although in his commentary on RV.1.50.12 he correctly explains the term to mean a sArikA. The flight of Parrots is very swift and a flock flying to or from rich crops in the open, or hurtling through the forest, swerving gracefully to avoid trees and branches, is always a fine sight. A selection of verses in appreciation of their beauty at close quarters and high up on the wing should prove interesting - "tuNDairAtAmrakuTilaiH pakSairharitakomalaiH / nivarNarAjibhiH kaNThairete mAgiraH zukAH" kAvyAdarza 2.9 Parrots descending upon a paddy-field yatna zAlivanopAnte khAtpatantIM zukAvalIm / zAligopyo'numanyate dadhatIM toraNazriyam || Addi-Purana of Gunabhadra, 4.61 70 sAmIpya : pu. 25, is 3-4, moTo. 2008 - bhArtha, 2008 For Private and Personal Use Only

Page #74
And pretty peasant-girls, dressed in green, driving them away zukAJchukacchadacchAyai rucirAGgI snanAMzukaiH / chotkurvatI: kalakvANaM so'pazcacchAligopikAH // Ibid.35.36 A Yaksa describes to Arjuna a flight of parrots, many carrying golden ears of paddy in their bills muMkhairasau vidrumabhaGgalehitaiH zikhAH pizaGgI: kalamasya bibhratI / zukAvalirvyaktazirISakomalA dhanuzriyaM golabhido'nugacchati / Kiratarjuniya, 4.36 Poet 7787 also presents a similar picture - haritapatnamayIva marudgaNaiH srgvnddhmnormpllvaa| madhuriporabhitAmramukhI mudaM divi tatA vitatAna zukAvaliH // Sisupala-vadha, 6.53 SWANS, GEESE, DUCKS AND MERGANERS Sanskrit nomenclature corresponding to the common names in the title of this Article is haMsa or mahAhaMsa, kalahaMsa or kAdamba-haMsa, kSudrahaMsa or haMsaka, and kAraNDava respectively, and the epitomised expression tokusat: approximates in meaning to the scientific name of the family, viz., Anatidae. Indian mythology recognizes the unity pervading the family when it regards the Swans, Grey Geese and Ducks as the progeny of the first Swan-Mother Earret: - dhRtarASTrI tu haMsAMzca kalahaMsAzca sarvazaH / cakravAkAMzca bhadraM te vijajJe sA'pi bhAminI // - rAmAyaNa 3.14.19., ma.bhA. 1.66.60 In this verse lohalla (the Grey Lag noted for its mellow call note) stands for all grey Geese and share the beautiful Duck) for all Indian Ducks, In the same way # (note the plural in each case) denotes the all-white Swans as is clear from references to them in the Rigveda, literature and the Lexicons. Amarasimha and others name the Grey Geese like the Grey Lag and the Bar-headed Goose as chutes and onlGF, and define as an entirely white bird with white wings ( ) and distinguish three different varieties of it as we shall see presently. All the northern breeding grounds of the Swans and Geese are conventionally placed at or near the #lake in the Himalayas. These birds do not breed within Indian limits, Birds in Sanskrit Literature 71 For Private and Personal Use Only

Page #75
nevertheless poetical convention treats them as being under the influence of love during the cold season. The reason is that they are in a good condition and keep calling to one another, and hence expressions like matrahaMsa or mattakalahaMsa, for according to pArAzara quoted by bhaTTotpala in EriEGI, 85,28, the 46010 for chica, etc, is the TG . According to a story related in the rAmAyaNa, 7.18 God varuNa avoided rAvaNa by transforming himself into a and latter granted a boon to the bird for his help and made him permanently white : - varNo manoramaH saumyazcandamaNDalasannibhaH / ufqufa Maici: US 77499: || - 9.86.78. haMsAnAM hi purA rAma na varNaM sarvapANDuraH / 48 d ata: 5T: yoqaf TEST: | 6.82.38 14 also describes this favourite bird (a) of abu as wholly white : haMso'pi himakarpUrazItAMzurajatadyutiH varuNasya varAjjAtastoyezaprItimAnsadA // - rAmAyaNamaMjarI, 7.339. The 64 of the story is clearly a Swan and the change of colour from Juvenile to adult plumage has been explained mythically. The mount of a (HE) is also a Swan so that the epithet for for at denotes a Swan - see para. 11 of this and para. 6 of section B. The Rigveda contains references to as (i)>>o a solitary bird (ii) going in pairs, and (iii) flying and calling together in a line. There is also mention of the fing , the Bar-head Goose (section B, para 5). The following references are evidently to the Swan : The FTA plant when crushed exudes the juice with a hissing sound due to air bubbles coming out and bursting. This is compared to the hissing of a Swan when disturbed on the water : "afn HGT' - RV 1.65.5. We have seen that the female of the Mute Swan hisses angrily when disturbed. Writing about the voice of Swans, B. Vesey Fitzgerland also says: "The Mute Swan very rarely does more than hiss severely at unwelcome visitors." It is, therefore, incorrect to translate parafa as "pants" as Griffith does, for there is no reason for the bird of powerful flight to 'pant' and the comparison is between the effects produced on the 14 and a when they are teased (crushed being the proper word for 14 corres-ponding to 'teased' or 'annoyed' for the a). The Sun is called "H: yam' in RV 4.40.5, and the reference can only be to a solitary Swan floating upon a wide expanse of deep blue water, Cf: prajagAma nabhazcando haMso nIlamivodakam / - rAmAyaNa, 5.17.1. 72 But : y. 24, zis 3-8, ziszi. 2001 - Huizi, 2004 For Private and Personal Use Only

Page #76
from The Asvins invited to the Soma sacrifice like a pair of Swans hastening to the water: ifaa Th ai 34 - RV 5.78.1-3. ifaa ett 37 anfaa - RV 8.35.8 The Swan is monogamous and a pair, being greatly attached to each other, keep together. This is particularly the case with the Mute Swans (see above). The last two references are, therefore, to these birds. None of the Geese can be intended as they live and move in flocks of some size when away from their breeding grounds. White horses (FQF: 'shining and therefore 'white') running, in a race or otherwise, in a line are compared to Swans flying in a line : FORT BTTI Aga FURA ATT - RV 1.163.10. Freshly cut to size and barked (and therefore white) wooden sacrificial posts carried on their shoulders by men walking in a single file along a forest foot-path look like long-necked Swans flying in a line nga sfurgit at: : - RV 3.8.9 The Whoopers, when in small parties, fly in a line. The Geese, on the other hand, always occur in large flocks and fly in "bunches" on shorter and in wedge-formation or very long lines on longer flights. A party of Whoopers answering the sonorous call of their leader : 1 $a que 14 - RV 3.53.10. 371 E T Tui farreiraT4 -RV 9.32.3 The hiraNyaparNa hasaM with a beautiful voice (madhumnta) in the below is the same as the suvaNNa of the wild, and the fetue of 04134149 (see paragraphs 7 & 8 below) and, therefore, a young Whooper with a greyish brown plumage : ART 9 ai Hc fent fexuelquf 369 348/4: - RV 4.45.4 The e dedicated to the Moon-God (VS 24.22) and the Wind-God (Ib.24.35) are clearly Swans. The Sun and Moon have often been pictured as a Swan, and its powerful flight and migratory are fully in keeping with the spirit of the Wind. idaM ca ramaragIyaM te pratibhAti vanaspate / / yad ime vihagAstAta ! ramante muditAstvayi // eSAM pRthak samastAnAM zrUyate madhuraH svaraH / / puSpasaMmodane kAle vAzatAM sumanoham // This magnificent picture of thine is very charming indeed, O Lord of the forest, when these birds are happily enjoying themselves upon trees, O dear ! and their sweet musical notes are distinctly heard as they sing beautifully during the season of fragrant flowers (the spring.) Thus, Birds science is addressed in detail in vedas including Birds, their species & sub Birds in Sanskrit Literature 73 For Private and Personal Use Only

Page #77
Shri Mahavir Jain Aradhana Kendra amarakoza species. The details of scientific information about birds is relavant even today. atharvavedasaMhitA RgvedasaMhitA nirUkatA brahmAMDa yajurvedasaMhitA mahApurANa zabdakalpadruma zukranIti zuphalayajurvedasaMhitA kauTilIya arthazAstra 74 : : rAmAyaNam bhA. 1, 2, 37 : saMpAdaka sAtavalekara zrIpAda dAmodara, svAdhyAya maNDala, pAraDI ji. valasADa, caturtha saMskAraNam, zake 1865 saMpAdaka sAtavalekara zrIpAda dAmodara, svAdhyaya maNDala, 1: www.kobatirth.org : : : : Acharya Shri Kailassagarsuri Gyanmandir BIBLIOGRAPHY 'sarala maNiprabhA' hindI vyAkhyAsaMhitA saMpAdaka zAstrI haragovinda vArANasI dvitIya saMskAraNa saM. 2031 pAraDI, ji. valasADa, caturtha saMskAraNam durgAcArya TIkA sahita saMpAdaka rAjavADe, bI. ke. pUnA 1921 1936 saMpAdaka zarmA ke. bI. kRSNadAsa akAdamI, vArANasI, dvitIya saMskAraNa, 1983 saMpAdaka- sAtavalekara zrIpAda dAmodara, svAdhyAya maNDala, pAraDI, ji. valasADa, caturtha saMskAraNam : zrImadvAlmIkimunipraNItaM, TIkAtrayeNopaskRtam: saMpAdaka zAstrI zrInivAsa kaTTI, parimala pablikezansa, dilhI, 1983 motIlAla banArasIdAsa, vArANasI saMpAdaka desAI icchArAma sUryarAma, muMbaI - 1893 saMpAdaka ghoDA motIlAla ravizaMkara, zrI porabaMdara, vedazALA zAstrI Ara. zyAma, paMjAba, saMskRta sirIja, lAhaura, 1923. sAmIpya : pu. 25, khaMDa 3-4, khosTo 2008 For Private and Personal Use Only - mArca, 2009

Page #78
The Peasant's Participation in Freedom Struggle in Saurashtra Dr. S. V. Jani* Before independence Saurashtra comprised of 222 big and small states with varying degrees of power and autonomy, of these 222 states, 14 were salute states, 17 non-salute states. and 191 other small states exercising varying degree of jurisdiction.' The principal ruling clans were Jhalas, Jethwas, Jadejas, Parmars, aohils and Babis. The Baroda state also had territories in Saurashtra. The Portuguese territory of Diu was also in this region. At the outset of the twentieth century, national awakening was aroused among the people residing in British India. But it was not possible in the princely states of Saurashtra, because these states were the centres of pomp, exploitation and treacherous plots. Most of these princely states did not allow any participation of the people in the government as well as in the freedom struggle.' Except some liberal states like Rajkot and Bhavnagar, in other states monopoly and tyranny were prevalent. The rulers had the support of the Sovereign British power and the people had no voice. The rulers wasted money in reckless extravagance without any sense of responsibility.5 The annual session of the congress held in 1902 at Ahmedabad and in 1907 at Surat and the "Bang Bhang Movement" and "Swadeshi Movement" had its impact on the people of the princely states of Saurashtra also, though these people could not participate in national or revolutionary activities, but they managed to get the literature arousing nationalism and read it secretly. The freedom struggle was nurtured mainly in British Indian territory, but whenever it gained momentum in the British provinces, neighbouring princely states were invariably affected and the agitation always found some echo, howsoever faint among the subjects of the princely states. After Gandhiji's return to India from South Africa in 1915, the freedom struggle in Saurashtra got momentum. National awaking was aroused slowly but steadily in the people of princely states of Saurashtra. In some of the states "Praja-Parishad" or "Praja Mandal" were established. Baroda state was the first state in western India to have a Praja Mandal in 1916. Baroda's example was soon followed by Bhavnagar, Rajkot etc. in Saurashtra. Bhavnagar state declared the formation of Praja Pratinidhi Sabha in 1917. Thus, Bhavnagar was the first state in Saurashtra to include the representatives of the people in administration.' Jamnagar state also formed an advisory council in 1919. Rajkot was the first state to establish Praja Prtinidhi Sabha in 1923 consisting of all elected members." From 1920 to 1947 Gandhiji became the main leader of the Freedom Struggle. His ashram at Sabarmati was the main centre of nurturing constructive workers. According to the suggestion of Gandhii in 1920 "Kathiawad Rajkiya Parishad" was established to ventilate the * Ritired Professor & Head, PG Department of History, Saurashtra University, Rajkot. The Peasant's Participation in Freedom Struggle in Saurashtra For Private and Personal Use Only 75

Page #79
grievances of the people of Saurashtra. In the same year non-co-operation movement was launched. A weekly named "Saurashtra" was also promoted by Amritlal Sheth. It became the torch-bearer of the demands of the people. It had started a battle against the autocracy of the rulers. It also was blowing the bugle of the freedom struggle.10 Saurashtra (kathiawad) Vidyarthi Parishad was organised in 1921 under the presidentship of Acharya Kriplani. "Kathiawad Yuvak Parishad" was also held in 1929 at Rajkot under the presidentship of Jawahrlal Nehru. The people of Saurashtra had participated in the Nagpur Flag Satyagraha in 1923 and Bardoli Satyagraha in 1928. Acharya Shri Kailassagarsuri Gyanmandir The majority of the people of Saurashtra were peasants. Their economic condition was full of sorrows. They were the lot adding maximum to the state treasury through revenue taxes. But their social and financial position was shocking. It was a class which was being oppressed to the maximum by the rulers. They had no voice in the administration. They were born as if to tolerate all the oppressions. Though, there were some liberal and progressive rulers like Bhagwatsinhji of Gondal. He used to call his peasants as "the trees of gold". So, he cared most for their amenities. The peasants of Saurashtra were heavily burdened. Over and above land revenue, the following extra taxes were collected from them Hawaldari (for the chowkidars of the village) Mandri (for tolats - who weighed agriculture produce) Sukhdi (for storekeepers) 1. 2. 3. 4. Zampo guest charge) 5. Khola (for patel of the village) Maplan (for downtrodden of the village) 7. Kamdari (for kamdar) 8. Kunvar or Bai Sukhdi (for Prince or wife of king) 9. Muthi-Chapti (for servants of Kamdar) 10. Khara-jat (charge of collecting revenue)" Thus, the majority people i.e. peasants were oppressed by the princely, states in general. Moreover the land belonged to the state. So, if they protested they were driven out of the land. But after non-co-coperation movement some peasants have indirecly participated in the freedom struggle. They were inspired and encouraged by the leaders like Gandhiji, Vallabhbhai Patel, Jawaharlal Nehru etc. Some volunteers from Saurashtra had taken part in Bardoli Satyagraha of 1928. When they returned home they started telling the stories of the Bardoli Movement. It created a sense of awakening in the common people. Hence during ten years of 1929 to 1939, the peasanty of Saurashtra had mass participation in the freedom struggle. As the majority, of the people were peasants, in those movements, they are called the Peasant Movement. They were at (1) Khakhrechi (1929), (2) Panch Talavada (1937-38), (3) Vallabhipur (vala) 1938 and (4) Mota Charodia (1938)." 76 sAmIpya : pu. 25, aMka 3-4, okTo. 2008 mArca, 2009 For Private and Personal Use Only

Page #80
The heavy taxation of the state of Malia-Miyana added fuel to the fire. Particularly the people of Khakhrechi village under this state were awakened by the constructive activities of the local leader, Maganlal Panachand Vora, who had stayed with Gandhiji in Sabarmati Ashram of Ahmedabad for some years, 13 The ruler of Malia had imposed the following taxes : 1. When the ruler visits the village, free supply of milk. 2. Free supply of grass for the horses of the Prince. 3. Firewood to be supplied free for cooking. 4. Bedding and cushions to be supplied free. 5. People should join as 'begar' for supplying bricks, lime, stones, and carts for building the royal palace. The peasants should give their cotton to be pressed in the cottonj in prescribed by the state at prescribed rates.' After the death of a land-holder, for transferring it to his inheritor, a tax called "Sakar" (Sugar) to be given. 8. If a person wants to have more doors or windows in his house, he was to pay "Hava-vero" (Air tax), of Rs. five. Intolerable taxation was much on the produce of agriculture that it come to 70 to 75 percent. 14 As a result the peasant folk of khakhrechi staged a satyagraha. The eighteen leaders of the peasants were selected by the people. They were compared to the eighteen Adyayas of Gita. Gandhiji also supported this movement. It brought a new spirit among the local people.15 This satyagraha had the best wishes of Sardar Patel, Thakkar Bapa etc. Kathiawad Satyagraha Dal also joined the movement. Many volunteers, including some women came from wadhwan to help and participate in the movement. Taking into consideration the seriousness of Satyagraha, the British Agency forced the state to come to a compromise with the satyagrahis. Ultimately due to the support of the national leaders, firm decision of the volunteers and pressure of the British Agency, the Malia state had a compromise on 22nd January 1930 16 and the ruler Raysinhji Jadeja was forced to abdicate the throne in favour of his grandson, Harishchandrasinhji. This was the first Satyagraha in the peoples movement in the princely, states of Saurashtra. Gandhiji reacted to it by saying that the courage shown by the peasants of this small state was praiseworthy."? As this was the immediate result of Bardoli Satyagraha, it was called by "Saurashtra" weekly, as "Bardoli of Kathiawad". Moreover it played an important role for preparing the people of Saurashtra to participate in the Salt Satyagrahas to be staged as a part of Civil Disobedience Movement. Hence, it is called the rehearral of the salt satyagrahas of Dholera and Viramgam." 18 Thus, this success enthused in the people the sense of self-confidence to protest against the injustice. As a result the people from all over Saurashtra, participated with enthusiasm in the salt satyagrahas of Viramgam and Dholera in 1930. The atrocities done by the police was not The Peasant's Participation in Freedom Struggle in Saurashtra 77 For Private and Personal Use Only

Page #81
only cruel but also inhuman. Many freedom fighters were wounded heavily. A British officer behaved so brutally, that there was a saying in Dholera salf satyagraha that "wherever there is flecher, there is stracher." The slogans of the people were, "Hindustan Ho Azad, Nokarshahi Ho Barbad."19 Moreover the people of Saurashtra had participated in the four satyagrahas held in 1931 at Morbi, Dhrol, Vanod and Dhrangadhra. . During 1937 to 1939 Rajkot and Limbadi satyagrahas and three peasant satyagrahas were staged. In Rajkot agitation people of all walks of life participated. The peasants also had become fearless and were not afraid of the atrocities of the state.' The gramya-kooch was a significant feature of this agitation. One Mr. Savdas Patel of Gunda village was inspiring and encouraging the peasants of his village. He was so brutally beaten that he died. Thus this peasant was the first martyr of this movement. Even the women had participated in it. Bhakti Lakshmi Desai had taken the leadership of a vast rally. She was the wife of Darbar Gopaldas, ruler of Dhasa and Ray Sankli states, which were escheated by the British Agency for actively joining the freedom struggle. He was the only ruler who had joined this national movement - Kasturba, Maniben Patel and Mrudulaben Sarabhai were other women leaders who were imprisoned. Even Gandhiji had joined Rajkot Satyagraha and he had fasts at Rashtriya Shala. So the local or regional movement took a national shape. Rajkot proved a priceless laboratory for Gandhiji.20 In Limbadi Satyagraha of 1939 people's participation was unimaginable. The state police manhandled Chanchalben Dave, a widow of Shiyani and was thrown in mud. Even Lilavatik. Munshi had participated in this movement. As a novel experiment of bringing pressure on the state, Limbadi Cotten Boycott Committees were established all over India. It had a great impact on the economy of the state. About 800 persons were wounded in assaults.21 Hundreds of people (about 6000) made "Hijarat" 22 Limbadi state exhibited an example of "organised Gundashahi' but still people were firm in their struggle. Dr. Pattabhi Sitaramaiyya has noted that "the atrocities of Limbadi' were more than that of Jalianwala Massacre."23 The peasants of Panch-Talavada village of Bhavnagar state were awakned. They had attended the Khedut Conference held at Antalia in 1937. It was attended by Indulal Yagnik (Ahmedabad) and Fulchand Shah (Wadhwan). They inspired and encouraged the peasants to protest against the unlawful taxes and injustice. So they had satyagraha at Charodia, Pattabhi Sitaramaiyya, U.N.Dhebar, Balwantrai Mehta etc. visited Panch-Talavada and inspired them to be fearless. Due to firm protests Anantrai Pattani, the new Diwan. Of Bhavnagar state compromised and the freedom fighters were freed from jail. This was the second peasants satyagraha of Saurashtra. The third was held at Vala (vallabhipur) state in June 1938. It had heavy and unbearable taxes. Yuvak Sangh was active at Vala. Its members were ready to sacrifice everything. Many people participated in the Civil Disobedience Movement held in 1938. The peasants with their families and their ox and ploughs had a sitting satyagraha before the palace of the king. As the movement was taking a serious turn and it may effect the neighbouring states, so British Political Agent, Mr. Egerton, interfered and forced the state to 78 Burl : y. 24, vis 3-8, vsel. 2000 - Hal, 2004 For Private and Personal Use Only

Page #82
compromise with the peasants, on 19-12-1938. The ruler Vakhatsinhji was forced to leave his state and stay at Rajkot for two years and his son Gambhirsinhji was made the ruler. Similarly the fourth peasants, Satyagraha was staged in 1938 at Mota Charodia village of Palitana state. Here also the peasants were awakened due to the activities of 'Gram-SevaKendra' and Shambhu Shanker Trivedi of Gariadhar. The leaders of this movement Ichchhashanker P. Trivedi, Jorsinh Kavi and his wife Kasturben kavi, Devchand Korat, Vallabhbhai Patel were jailed for six months. The leaders of Kathiawad Rajkiya Parishad approached the state but in vain. So about one hundred families migrated to Palitana and male, female and children had a sitting Satyagraha before the palace.24 The land, farms, houses etc. of many people were confiscated. Many were jailed, some were exiled of the state and atrocities were at its height. Sarlaben Trivedi, Shardaben Shah, Kasturben Kavi, Narmadaben Pathak, Parvatiben Patel and many illitarte women had also participated in this agitaiton, Ultimately, the state had to bow down befoce the firm decision of the united people, supported by local, regional and national leaders. Afterwards, the people of Saurashtra, had actively participated in Quit India Movement and the freedom movement of the people of Junagadh (1947) also. The participants in freedom movement in Saurashtra were mostly of 14-45 age group, and were by professon pleader, teacher, trader and peasants. Harijans and Muslims were less in number. The people of Saurashtra played an important role in the freedom movement. As a result it became a mass-movement. It had the inspiration, encouragement and support of the people and leaders of British India. The peasants were the most oppressed class in the society. So their participation is a remarkable feature of this movement. Their number was also praiseworthy. So, we can say that the freedom movement in princely states of Saurashtra is a great, grand and glorious chapter in the modern history of Gujarat. References 1. Menon, V.P. - The Story of the Integration of Indian States, Bombay, 1969, P. 168. 2. Dhebar, U.N. - Darbar Gopaldas, Bombay, 1974, p.-6 3. Jaffery, Robin (Edi,) People, Princes and Paramount Power, New Delhi, 1978, p. 243. 4. Rajgor, Dr. Shivprasad - Gujarat No Rajkiya Ane Sankritik Itihas, Ahmedabad, 1974, p. 215 5. Chudgar, P.h. - Indian Princes Under British Protection, London, 1929, p. 215 6. Handa, R.L. - History of Freedom Struggle in Princely States, New Delhi, 1968, p.2 7. Korat, Jani and Bhal (Edi) Bhavnagar Rajya No Itihas, Ahmedabad, 1995, p. 152 8. Jamnaar District Gazetter, Ahmedabad, 1970, p. 88 9. Bhatt, Tribhuvan p. (Edi) Sansthan Rajkot Ni Directory Vol. I, Rajkot, 1929, p. 171. 10. Mehta, Labhuben - Mara Jee Kaka, Marun Ranpur, Bombay, 1979, p. 81. 11. Watson, J.W. - Gujarati Translation by Narmadashanker Dave, - Kathiawad Sarvasangraha Bombay, 1886 p. 252 The Peasant's Participation in Freedom Struggle in Saurashtra 79 For Private and Personal Use Only

Page #83
12. Jani, Dr. S.V. - Azadi Ni Ladat Man Saurashtra, Rajkot, 2005, p. 22, 69 to 74. 13. Jani, Dr. S.V.'s article - "Saurashtra Ni Riyasato Man Kisan Andolano - Ek Samiksha", "Arthat", Surat, Vol III-IV, 2004, p-30. 14. Jani, Dr. S.V.-History of Saurashtra, Ahmedabad, 2003, p. 489-490 15. File No. 297, Home (Pol.) 12-1930, N.A.I., New Delhi 16. Malia State Adm. Report, 1930, p. 9 17. 'Navjivan" Ahmedabad, 2-2-1930 18. Jani, Dr. S.V. - History of Saurashtra, op. cit. p. 492 19. Ibid., p. 493-494. 20. Gandhi, M.K. - 'Desai Rajyo No Prashna', Ahmedabad, 1940, p. 346-351. 21. Doshi, Bapalal - Limbadi Ni Ladat, Gandhinagar, 1974, p. 26 22. Gandhi, Shamaldas - Limbadi Ni Hijarat, Mumbai, 1940, p. 5 23. Munshi, K.M. - Affairs in Limbadi State, Mumbai, 1940, p. 2 24. Jani, Dr. S.V. Op. cit., p-518. 80 But : 4. 24, vis 3-8, zsel. 2004 - HZ, 2004 For Private and Personal Use Only

Page #84
atharvaveda meM jalacikitsA DaoN. surekhA paTela * veda bhAratIya saMskRti kI gaMgotrI hai / vedottara kAla meM jo bhI zAstra aura darzanoM kI racanA kI gaI vaha sabhI ke mUla veda meM haiN| veda cAra hone para bhI sAmAnyataH 'trayI' zabda tIna vedoM ke lie vikhyAta hai / atharvaveda ko isI taraha alaga batAne kA eka rahasya hai / atharvaveda kA mUla nAma 'atharvAgiroveda' hai / isameM atharvA aura aMgirA RSiyoM ke darzana kie hue maMtro kA saMgraha hai / 'atharva' aura 'aMgirasa' ke maMtro ke saMgraha isa meM haiM, isIlie 'atharvAMgirasa' veda kahalAtA hai| 'atharvA' nAmake RSiyoM ke maMtra hitakArI hai / dUsare zabdoM meM kahA jAya to White Magic hai / jabaki aMgirA RSiyoM ke maMtra jAraNamAraNa meM upayogI hai / dUsare zabdoM meM kahA jAya to Black Magic kahalAtA hai / I atharvaveda jana-sAmAnya kA veda hai / kSAtraveda aura Ayurveda kA Adistrota hai / atharvaveda ke maMtro ke bAre meM gopathabrAhmaNa, kauzikasUtra, baitAnasUtra, nAkSatrakalpa, AMgirasakalpa, atharvaveda pariziSTa aura zAMtikalpa ke viniyoga dekhate hue meghAjanana, adhyAtma, brahmacarya, grAma - nagara rASTra kI surakSA, pazu-putra -dhana-dhAnya aura pazu saMpatti kI prApti, prajA kI ekatA, rAjakarmasaMgrAma, jaya-sAdhana, zatru-senA-saMmohana, staMbhana, uccATana jaise abhicAra karma, gRhanirmANa, varcasyaprApti, bhaiSajya vivAha, garbhAdhAna, upanayAdi saMskAra, saubhAgyavardhana, vANijyalAbha, kRSi Adi viSaya ke vyApa dekhate hue atharvaveda saMskRti, dharma, jana-vizvAsa, roga aura oSadhopacAra kA vizvakoza hai / yaha saMdarbha se vaha janasamAja kA veda hai, aura usake tAva- takaman, meghAjanana, kRSi, sukhaprasUti, AtrababaMdha, keza saMvardhana, apAmArga Adi sUkta dekhate hue atharvaveda jIvana-vijJAna kA veda dikhAI detA hai / atharvaveda ke maiSajya sUkta aura AyuSya sUkto meM Ayurveda ke bIja hai / vRkSa aura vanaspatiyoM kI roga nivArane kI aura AyuSya kI vRddhi karane kI zakti atharvaveda ke RSiyoM ne sabase pahale pahecAnI aura bahujanahitAya, bahujanasukhAya hama sabako bhaiSajya, AyuSya aura pauSTika maMtra die / atharvaveda ke prathama kAMDa ke prathama anuvAk ke aMta meM Ate hue sUkta cAra, pA~ca aura chaha, yaha tInoM sUkta 'aponaptrIya' iSTi viSayaka hai / apAMnapAt yA apAMnaptR ' jala kA pautra' jala kI bASpa evaM bAdala aura isameM se paidA hotI vidyutarUpa agni kI aura jala kI prazasti isa sUkto meM hai / sUkta-4 pAne yogya mAtAyeM aura milakara bhojana karanehArI bahineM (vA kulastriyA~) madhu ke sAtha dUdha ko milAtI huIA hiMsA na karane hAre yajamAnoM ke sanmArgo se calatI hai / vaha jo (mAtAyeM aura bahineM) samIpa hokara sUrya ke prakAza meM rahatI hai, aura jina (mAtAoM aura bahinoM ) ke sAtha sUrya kA prakAza hai / vaha hamAre uttama mArga dene hAre vA hiMsA rahita karma kau siddha kareM vA baDhAveM / jisa jala meM se sUrya kI kiraNeM (vA gauyeM Adi jIva vA bhUmi pradeza) hamAre lie dene vA lene yogya anna vA jala utpanna karane ko bahanevAle samudra se pAna karatI hai / usa uttama guNa vAle jala ko Adara se meM bulAtA huuN| jala ke bIca meM roga saMskRta vibhAga, jI. DI. modI ArTsa kaoNleja, pAlanapura, (ba.kAM.) u.gu. atharvaveda meM jalacikitsA For Private and Personal Use Only 81

Page #85
nivAraka amRtarasa hai aura jala meM bhaya jItanevAlA auSadha hai, aura jala ke uttama guNoM se hai / " he ghoDo / tuma begavAle hote ho / he gauoM, tuma begavAlI hotI ho / yaha sUkta he RSi sindhudvIpa hai / devatA soma aura jala hai / eka se tIsarI RcA taka gAyatrI chaMda hai, aura cauthI RcA kA chaMda purastAt bRhatI hai / yaha cAra RcA kA sUkta hai / gauoM ke rogoM kA zamana, puSTi aura prajanana ke lie yaha sUkta se kevala lavaNa vA jala abhimaMtrita karake pilAnA / saba roga ke bhaiSajya meM (cikitsAviSayaka) yaha sUkta se ghI kA homa aura palAza, udumbara Adi zAnta vRkSoM kI samidhAoM kA homa karanA / lAbha-alAbha, jaya-parAjaya, icchita kArya kI siddhiasiddhi jAnanA / yaha sUkta se khIra, idhmakA AdhAna ( agni meM DAlane kA samidhi), kuzakA jhuMDa, pAThe (vanaspati) ko abhimaMtrana karanA / samasaMkhyA kA vikAsa kA samasaMkhyA Ane para siddhi aura viSama Ane para asiddhi ho / isase hI saMgrAma bhUmi meM vedikA kA parikSaNa, jaya-parAjaya ke lie karanA / ' arthotthApana ke vighnoM ko zamAne ke lie yaha sUkta se maMtra ke varNa ke devatA maruto ko uddezakara khIra kA homa, ghI kA homa, kAzavetasa (khA~sI kA auSadha) Adi auSadhipAtra meM eka ke bAda eka rakhakara abhimaMtrita karake jala meM bahA denA / kutte kA sara (mastaka) aura bakareM kA sara (mastaka) abhimaMtrita karake jala meM DAlanA / manuSya ke keza, jIrNa jUte, bA~sa ke agrabhAga meM baMdhanA / tuSa-silkA (choDAM) ke sAtha kacce pAtra ko tIna rajjuvAle zake meM rakhakara jala meM DAlanA Adi abhivarSaNa karma karake abhimaMtrita kalaza ke jala ke sAtha bahA denA yA isameM se sIMcana karanA / isa sUkta meM agnidhrIya meM vasatIvarI kalaza kA abhimaMtraNa karane kA prayojana bhI hai / 1deg cauthe maMtra meM nisargopacAra kI jala - cikitsA kA spaSTa ullekha hai / zuddha jala hI parama auSadha hai / yajJa ke kartAoM I hai / 'madhunA' jaise mAtAe~ aura bahineM yajJakArya meM sahAyaka banatI hai, vaise adhvara (somayAga) ko japa sahAyaka hote hai / bhinna-bhinna anuvAdakoM ke alaga dikhate anuvAda ke artha eka madha ke sAtha, madhura svAda ke sAtha / adhvami: nADI se, paya:arthAt puSTikAraka padArtha / sUrya kA prakAza jisake upara paDatA hai vaisA jala, sUrya ke kiraNoM kA sparzavAlA jala / dekhie : Apa: sUrye samAhitAH (tai. u: 1-8-1) apodevI: arthAt divyajala / AkAza meM se barasatA jala, gauoM pItI hai vaha jala, nadI yA jalAzayoM kA jala / yahA~ zuddha jala hI parama auSadha hai / sUkta 5 he jalo ! (jala ke samAna upakArI puruSoM) nizcaya karake sukhakAraka hote ho / so tuma hamako parAkrama yA anna ke liye bar3e-bar3e saMgrAma vA ramaNa ke liye aura (Izvara) darzana ke lie puSTa karo / 11 ( he manuSyo !) jo tumhArA atyanta sukhakArI rasa hai, yahA~ (saMsAra meM) hamako usakA bhAgI karo, jaise prIti karatI huI mAtAyeM / 12 (he puruSArthI manuSyoM) usa puruSa ke liye tumako zIghra vA pUrNa rIti se hama pahu~cAveM, jisa puruSa ke aizvarya ke liye tuma anugraha karate ho / he jalo ! ( jala samAna upakArI logo) hamako avazya tuma utpanna karate ho / 13 cAhane yogya dhanoM kI IzvarI aura manuSyoM kI svAminI jala dhArAoM (jala ke samAna upakArI pujAoM) se maiM, jItanevAle auSadha ko mA~gatA hU~ / 14 82 sAmIpya : pu. 25, khaMDa 3-4, khosTo 2008 - For Private and Personal Use Only mArca, 2009

Page #86
yaha sUkta ke RSi sindhudvIpa hai / (Rgveda 10 / 9 meM tvaSTA ke putra trizirA yA sindhudvIpa AMbarISa RSiyA~ hai) devatA 'Apa' (jala: hai, chaMda gAyatrI hai aura yaha cAra RcA kA sUkta hai / yaha sUkta ke prathama tIna maMtro se brAhmaNa saMdhyAvaMdana samaya meM mArjana karate hai / yaha sUkta aura isake bAda ke sUkta (6) se aindrAgni pazu para vapA (carabI yA meda) homa ke bAda mArjana kiyA jAtA hai / 95 agnicayana meM ukha (bhaThThI) ke lie lAyA gayA miTTI ke piMDa ko khAkhare ke parNa se kasANAM (tUre) bane hue jala se bhIgokara yaha sUkta se abhimaMtraNa kiyA jAtA hai / 16 bRhadagaNa aura laghugaNa meM yaha sUkta kI ginatI kI gaI hai / salilagaNa meM bhI yaha sUkta kA samAveza kiyA gayA hai / 17 Age ke sUkta kI taraha gauoM ke rogo kA upazamana, puSTi, prajananakarma aura arthotthApana meM vighnoM ko dUra karane ke lie yaha sUkta kA viniyoga batAyA gayA hai| vAstu-saMskAra karma meM yaha sUkta se kalaza ke jala ko ghara kI bhUmi para chaMTakAva karanA kahA hai / 18 Aditya nAma kI mahAzAnti bhI yaha sUkta kA viniyoga hai / 19 'Apa:'arthAt jala yA Aptajana bhI hotA hai / 20 'zivatamaH rasaH' arthAt kalyANakArI rasa-dUdha vA jala / 'icchuka mAtAe~' sAtha meM hone se mA~ ke stanya kI taraha, 'jIvana rasa poSaka jala' bhI hitakArI / 'kSayAya jinvatha' arthAt nivAsa ke lie poSaka rasa auSadhi meM sthira ho isIlie auSadhiyoM ko tRpta karate ho puSTa karate ho, yA 'jisa jIvanarasa ke lie Apa ho' / jala meM prajanana zakti baDhAne kA sAmarthya hai vaha aMtima caraNa meM dyotita hotA hai / 'AyojanayathA ca naH' hamako prajananazakti dete ho / hamako baDe parivAla vAle banAte hai, jisase hama yajJa kara sakate hai / yajJa Rtvija kA saMtAna - / (sAyaNa sAmaveda 2/1/2,10 - 3 meM gamAm kA gamayAma preraka kA artha lete hai kintu, yaha artha yahA~ abhipreta nahIM lagatA / ) 'vAryANAm ' arthAt icchane yogya yA jisakA nivAraNa ho sake yaha roga / 'vAri' arthAt jala, jala se saMbaMdhita, jala ke divyajala, vRSTi ke jala, registAna ke jala, vAva - kUveM Adi ke jala, jalamaya pradeza kA jala Adi prakAra usake guNadharma se bhinnatA dhAraNa karate hai / kSayantaH caSaNInAmkSi-nivAsagatyoH ke aMtarbhAvita preraka kA zatrunta strIliMgarUpa kSayantI nivAsa karAne vAle / kSi-nAzakaranA, isake upara se 'rogo ko miTAne vAlA' artha ho sakatA hai| aMtima caraNa meM jala-cikitsA kA nirdeza hai / zuddha jala auSadharUpa hai, vaha to amRta hai / sUkta - 6 divya guNavAle jala hamAre abhISTa siddhi ke lie aura pAna vA rakSA ke lie sukhadAyaka hoveM aura hamAre roga kI zAnti ke lie aura bhaya dUra karane ke liye saba aura se varSA kare / 21 bar3e aizvarya vAle paramezvarane (candramA vA somalatAne) mujhe vyApanazIla jaloM meM saba auSadhoM ko aura saMsAra ke sukhadAyaka agni (bijulI yA pAcanazakti) ko batAyA hai / 22 he vyApanazIla jalo ! mere zarIra ke lie aura bahuta kAla taka calane yA calAnevAle sUrya ko dekhane ke lie kavacarUpa bhaya nivAraka auSadha ko pUrNa karo / 23 hamAre liye nirjala deza ke jala sukhadAyaka aura jalavAle deza ke (jala) sukhadAyaka hoveM / hamAre liye khanatI vA phAvar3e se nikAle gaye jala sukhadAyaka hoveM; aura jo ghar3e meM lAye gaye vaha bhI sukhadAyI hoveM, varSA ke jala hamako sukhadAyI hoveM 24 atharvaveda meM jalacikitsA For Private and Personal Use Only 83

Page #87
yaha sUkta ke sindhudIpa aura kRti atharvA RSi hai / (RgvedaH 10/9 meM tvaSTA ke putra trizirA aura sindhudvIpa AMbarISa RSi hai) devatA Apa (jala), soma aura apAMnapAt agni hai / chaMda pathyA paMkti hai| yaha cAra RcA kA sakta hai / yaha sUkta kA prayojana pahale (sUkta-5) kI taraha hI hai / bRhadgaNa aura laghugaNa meM prathama RcA kA prayoga hotA hai / 25 indramaha nAma ke karma meM Acamana karane ke lie bhI usakA viniyoga hai / 26 rAjA ke puSpAbhiSeka ke lie bhI yaha sUkta kA prayoga kiyA jAtA hai / paiplAda saMhitA ke anusAra atharvaveda ke prathama sUkta kA yaha prathama maMtra hai| saMdhyA-vidhi meM mArjana ke lie bhI prayoga hotA hai / yahA~ 'zam' kA kalyANa, yogakSema artha hotA hai / arthAt saumya guNa se yukta paramAtmA, Ayurveda kA vidvAna, somalatA kA mUrta svarUpa, somadeva / 'agni'-zAMti, sukha, kalyANa yA svAsthya denevAle deva hai / meghajala meM vidyuta svarUpa se agni rahA hai isI lie vaha 'apAM napAt' kahA jAtA hai / marubhUmi ke jala, jalamaya pradeza kA jala, ghAva-kUveM ke jala, kalaza meM bharakara lAyeM gaye (rakheM hue) jala aura varSA ke jala / yaha jala ke prakAra meM se pahele ke bAda dUsarA uttarottara svaccha aura Arogyaprada hai| atharvaveda meM viSaya vaividhya bahuta hai| isameM viSaya vibhAgIkaraNa alaga-alaga gaNa se 'atharvaveda pariziSTa' meM batAyA gayA hai / atharvaveda meM vividha prakAra ke cikitsA viSayaka auSadhi-sUkta hai / zalya cikitsA, maNi cikitsA Adi prakAra kI cikitsAoM meM se yahA~ jala-cikitsA saMbaMdhita tIna kI samIkSA kI gaI hai| Rgveda ke sAtaveM maNDala ke 'ApodevI' sUkta meM jala ke kaI prakAra diye gaye hai / yaha to pracalita hai ki meghajala avakAza meM se nIce Ate samaya vAtAvaraNa meM se pasAra hote samaya koI prakAra ke vAyu usameM milate hai, taba usake guNadharma meM badalAva AtA hai| yaha jala pRthvI para bahate samaya bhUmi ke kSAra usameM milate hai / bahate jala hamezAM hI nirmala hote hai, phira bhI usameM aise rAsAyaNika dravya aura dhAta milate hai taba jala ke gaNadharma meM badalAva AtA hai| Ayurveda ke graMtho meM jala ke guNadharma ke saMdarbha meM vividha dhAtue~ vA koyalA, patthara Adi agni meM tapAkara jala meM DAlakara, jala ke guNadharma meM parivartana kiyA jA sakatA hai, aura usIse hI cikitsA taraha vividha rAsAyaNika guNadharma vAle jala ke prakAra banate hai| jina meM samudra zreSTha hai aise jala, jala ke madhya sthAna se calate hai| jo pavitra karate hai aura kahIM bhI Thaharate nahIM hai / vrajadhArI balavAna indra ne jinake lie mArga banA diyA thA, ve divya jala merI surakSA kareM / jo jala AkAza se prApta hotA hai aura jo nadiyo meM bahate hai, jo khodakara kUve se prApta hote hai, jo zuddhatA aura pavitratA karane vAle hai ye saba samudra kI aura jAnevAle hai, ve divya jala merI yahA~ surakSA kareM / jinakA rAjA varuNa madhya loka jAtA hai aura logoM ke satya aura anRtakA nirIkSaNa karatA hai, jo jalapravAha mudhurarasa dete hai, jo pavitra aura zuddha hai, ve divya jala yahA~ hamArI surakSA kareM / varuNa rAjA 84 sAmIpya : pu. 25, is 3-4, moTo. 2008 - mArya, 2008 For Private and Personal Use Only

Page #88
jina jiloM meM rahatA hai, soma jinameM rahatA hai, saba deva jinameM anna prApta karake AnaMdita hote hai, vizvasaMcAlaka agni jinameM praviSTa huA hai, ve divya jala yahA~ mujhe surakSita rakheM / 28 khanItra (khodane kA sAdhana ) se prApta kiyA huA jala vAva, kUe~ milatA khaMdaka jala isa prakAra kA hai / 'kUpya' kuve kA jala hai / tAlAba kA jala yA jhIla kA jala, kUve yA vAva ke jala se bhinna prakAra ke hote hai / 'svarNima' jala suvarNa jaisA zuddha jala hai / isI taraha jala ke vividha prakAra dekhate hue usake bhinna-bhinna guNadharma ke anusAra jala ke upayoga kiye jAte 1 nitya bahate hue jala hitakArI mAne gae haiN| atharvaveda ke (1/6/1) sUkta meM aise jala ko hitakArI aura pIne yogya mAnA gayA hai| aise jala sukhadAyaka hai, baladAtA hai, ramya hai / ( 1/5/1) aise jala ko 'zivatama rasa' kahA gayA hai| rasa yAni ki dUdha aura jala / jaise mA~ kA dUdha saMtAna ke lie poSaka hai, vaise aisA jala poSaka banatA hai| aisA jala nitya nayA jIvana detA hai, prajananazakti vardhaka hai / aise jala kI nitya icchA rakhanI caahie| aise jalarUpI auSadha ko sindhudvIpa nitya cAhate hai / ( 1 / 5 / 4) yaha jala mAtA hai, vaha hamezAM ke lie madha aura dUdha kI taraha madhura aura poSaka hai| aise jala gauoM ko pInA cAhie aisA sindhudvIpa RSi kA mAnanA hai| (1/4 / 3) arthAt gaudhana jaise pazuoM ke lie bhI aise jala apekSita hai| aise jala meM hI amRta evaM auSadha bhI hai| gauoM aura ghor3o isase balavAna banate hai (1-4-4) soma ne sindhudvIpa RSi ko batAyA hai usI taraha jala meM sabhI auSadha hai / jala meM hI agni hai, jo vizva kA hita karatA hai| bar3e bar3e baMdha bA~dhakara race gae sarovara ke jala prapAta se bIjalI utpanna kI jAtI hai / jala meM agni hone kA vedavidhAna aise tharmala pAvara sUcita karate hai / ( 1 / 6 / 2) hamezAM aise jala auSadharUpa hone se taMdurastI bar3hatI hai| manuSya dIrghAyu hotA hai / (1/6/3) aise jala nitya hitakArI ho vahI, RSi manokAmanA rakhate hai, bhale hI vaha jala registAna ke ho yA anupabhUmi ke ho atavA vAva - kUve khodakara nikAle hue ho, yA bharakara lAe gae ho| aise jala vRSTi se prApta kiye hue bhI RSine 1-6-4 meM 'santu vArSikIH' kahakara batAyA hai| 'vRSa' yAne barasanA, siiNcnaa| jo jala prajanana, zaktivardhaka, vRddhivardhaka yA vanaspati ke aMkura phUTane meM sahAyaka hote hai vaha jala nitya auSadha rUpa hai / atharvaveda ke jala cikitsA kA RSi sindhudvIpa hai / nAma anusAra hI unhoMne apanA jIvana jala- cikitsA aura jala ke guNadharma kI zodha karane meM pasAra kiyA hogA vaisA sUcita hotA hai / pAdanoMdha 1. Rgveda 1/23 ke 16 se 21 maMtra, atharvaveda 1/4 / 2 (yajurveda: 6/24) 1/4/3, 1/4/4 (yajurveda : 9/ 6) 1/6/2 (Rgveda : 10/9/6) aura 1 / 6 / 3 samAna hai| Rgveda : 10/9/4 (yajurveda : 36 / 12) atharvaveda: 1 / 6 / 1 se samAna hai / vaha sAmaveda ke Agneya parva : 13 meM bhI hai| yaha sUkta bRhadgaNa ( kau.sU. : 9/ 2) aura laghugaNa ( kau.sU. : 9/8) meM bhI hai / ambayA yanpyadhvabhirjAmayo adhvarIyatAm / pRgvatIrmadhunA payaH // atharvaveda : 1/4/1 atharvaveda meM jalacikitsA For Private and Personal Use Only 85

Page #89
390 amUryA upa sUrye yAbhirvA sUryaH yaha / tA no hinvantvadhvaram // atharvaveda : 1/4/2 apodevIrUpa hRye yatra gAvaH pibanti naH / sindhubhyaH karvaM haviH / atharvaveda : 1/4/3 apsava 1 ntaramRtamapsu bheSajam / apAmuta prazastimirazvA bhavatha vAjino gAvo bhavatha vAjinI / 1/4/4 kauzikasUtram : 19/1-3 kauzikasUtram : 26/2 kauzikasUtram : 37/1,2 9. kauzikasUtram : 41/14 vaitAnazrautasUtram : 16/2 11. Apo hi SThA bhayomupastA na urje udhAtana / mahe raNAya cakSase // atharvaveda : 1/5/1 12. yo va: zivatamo rasastasya bhAjayateha naH / uzatIriva mAtaraH // atharvaveda : 1/5/2 13. tasmA araM gamAma vA yasya kSayAya jinvatha / ApAjanayathA ca na : // atharvaveda : 1/5/3 14. IzAnA vAryANAM kSayantIzcarSaNInAm / apo yAcAmi bheSajam // atharvaveda : 1/5/4 15. vaitAnazrautasUtram : 10/19 16. vaitanazrautasUtram : 28/11 17. kauzikasUtram - 18/25, 24/46 18. kauzikasUtram : 43/3-12 19. zAntikalpa : 18/5 / 20. Rgveda : 10/9 ke 1 se 9 maMtra 21. Apo hi SThA bharyAmuvastA na 5 urje dadhAtana / mahe raNAya cakSase / yajurveda : 11/50 22. zaM no devIrabhiSTaya Apo bhavanta pItaye / zaM yorami stravantu naH // atharvaveda : 1/6/1 23. apsu me somo abravIdantarvizvAni bheSajA / agni ca vizvarAMbhuvam // atharvaveda : 1/6/2 24. ApaH pravINa bheSajaM varUpaM tanve da mama / jyoka ca sUryaM deze // atharvaveda : 1/6/3 25. zaM na Apo dhanvanyA daH zamu santvanUpyADaH / zaM na khanitrimA ApaH zamu yAH kumbha AmRtAH zivA naH santu vArSikI // atharvaveda : 1/6/4 26. kauzikasUtram : 9/7 27. kauzikasUtram : 140/5 28. atharvaveda pariziSTa : 5,2,3,4 29. Rgveda : 7/49/1-4 86 sAmIpya : pu. 25, is 3-4, mosTo. 2008 - bhArtha, 2008 For Private and Personal Use Only

Page #90
paramparA aura AdhunikatA* Do. harSadeva mAdhava saMskRta sarjakoM evaM vivecako meM eka bhrAnta dhAraNA hai ki vartamAna yuga meM likhA gayA pratyeka sarjana Adhunika hai| vizva ke vivecanagranthoM ko dekhane se patA calatA hai ki 'vartamAna' 'samakAlIna' 'arvAcIna' eva 'Adhunika' alaga alaga paribhASAeM haiN| AdhunikatA kA sambandha kAla vizeSa ke sAtha nahIM hai, apitu AdhunikatA ke viziSTa lakSaNa haiN| ye lakSaNa haiM - bhAvaka kI upekSA vilakSaNa jIvanadarzana 3. prakRti se alagatA, AdimavRttiyoM kA svIkAra 4. astitva ko DhUMDhane kA prayatna kRti kI svAyattatA kA svIkAra kutsita vastuoM kI nirbhIka abhivyakti jantukalpa tuccha mAnava ke nairAzya kA citraNa Adi-usameM Izvara ke astitva kA asvIkAra, paramparA kA asvIkAra, bhASA meM pratIka, bimba, purA bimba (mithaka) Adi kA prayoga, aviSayoMko viSaya banAnA bhI saMlagna hai / DaoN. rAdhAvallabha tripAThI saMskRta sAhitya ko bIsavIM zatAbdi ke parivartana ke pariprekSya meM nimna likhita rUpa meM dekhate haiM - (1) rAjanaitika pArzvabhUmi (2) gAndhIvAda kA prabhAva. (3) rASTrabhAva kA sAtatya (4) sAmAjika cetanA (5) viDambana zailI (6) navacetanA (7) viSayanAvinya (8) samakAlikatA (9) navIna vidhAoM kI sthApanA (10) prAcIna vidhAoM meM vastu vinyAsa kA nAvinya (11) paramparA aura AdhunikatA kA samanvaya (12) yathArthabodha (13) vyaktivAda kA udaya (14) paramparA-AdhunikatA kA dvandva (15) nava artha kA smdhaan| paramparA ko bhI naye yugabodha ke sAtha prastuta karane kI zakti saMskRta ke kucha sarjakoM meM haiN| saMskRta kA eka vizAla samUha abhI bhI niSprANa mahAkAvya, netAoM kI cApalUsI, caurakalA meM pravINa stotrakAvyoM, rasaniSpatti ke nAma para sthUla zRMgArika racanAoM meM vyasta haiN| dUsarI ora paramparA ko naye bamboM evaM kalpanAoM ke sAtha prastata kara rahe sarjaka, bhale hi kama saMkhyA meM haiM, lekina haiN| aise kucha udAharaNoM ko prastuta karane kA yahA~ upakrampA hai / "prekSaNasaptakam' meM rAdhAvallabhajI ne 'dhIvarazAkuntalam' likhA hai| usameM nAyaka dhIvara hai, duSyanta * 44 AIOC kurukSetra meM prastuta zodhapatra, + adhyakSa, saMskRta vibhAga, ha. kA. ArTsa koleja, Azrama roDa, ahamadAvAda-9 paramparA aura AdhunikatA 87 For Private and Personal Use Only

Page #91
nahI / zakuntalA dhIvara kI preyasI hai| dareka premI kI apanI apanI zakuntalA hotI hai na! yahI Adhunika yugabodha hai / kabhI kabhI prAcIna racanA ke rasa meM parivartana bhI paramparA ko nayA rUpa detA hai / jaisA ki zAkuntala ke eka zloka kA parivartana hAsya rasa niSpanna karatA hai| -- asminnalakSitanatonnatabhUmibhAge 'TopI' samucchalati bhostava mUni netaH // (sandhAnam. pR. 6) yahA~ ApannasattvA zakuntalA ke kahe gaye zabda netAoM ke lie bhI kitane yogya haiN| rAjanIti kA mArga bhI 'alakSita' 'netonnata' (ubar3a khAbar3a ) haiM hai ne ! dUsarA eka merA padya zAkuntala ke caturtha aMka ke prasiddha zloka ko isa taraha bhAvaparivartana detA hai 88 - yAsyatyadya piturgRhaM na davitA harSeNa vyAptaM manaH draSTuM kAmapi kAminIM hi nitarAM sarvAdhikArA nu me / 'hoTelaM' vijanaM sakhImupavanaM nItvA sinemAgRhaM kAM kAM vIkSya punaH punazca virahaM kurve navInotsavam // Acharya Shri Kailassagarsuri Gyanmandir Do. kalAnAtha zAstrIjIne bhI zAkuntala zloko ke kucha vyaMgyAtmaka padya likhe the aura sAgara vizvavidyAlaya kI saMgoSThI meM prastuta kiye the / DaoN. dayAnanda bhArgavajI ne duSyanta kA zakuntala ke pratyAkhyAna prasaMga para acetana aura cenata mana kA saMgharSa achAndasa chAndasa zailI kA saMyojana karake padyabaddha kiyA hai| mere 'bhAvasthirANi jananAntarasauhadAni ' meM 'zAkuntale zApakSaNAH' kRti meM zakuntalA ke mile zApa kI asara anya pAtroM para kyA hotI hai - vaha pratyeka pAtrakI svagatokti ke pratibhAva ke sAtha zabda baddha hai| lekina kavitA lambI hone ke kAraNa carcA choDa detA hU~ | kabhI kabhI mUlakRti ko dUsare dora se dekhane se nUtana bhAvabodha A sakatA hai| zAkuntala prathama aMka meM mRgayAvihArI rAjA para hamArI dRSTi kendrita rahatI hai| rAjA ke ratha kA vega, rAjA aura sArathi kI uktiyoM se hama unhe dekhate rahate hai / lekina maine mere kemarA kA phaoNkasa mRga kI aura kiyA / isa mRga kI vyathA ina zabdoM meM sAmane AyI mRgatvam - zarapatanabhayAt bhUyasA pUravakAyaM praviSTo'haM yadA grIvAM vrakrAM kRtvA pazyAmi, tadA nAsti zaraH, nAsti vyAdhaH, nAsti padAt padamanusarati mRtyuH / sAmIpya : pu. 25, khaMDa 3-4, khosTo 2008 bhArya, 2008 For Private and Personal Use Only

Page #92
bata / na zarAt, na vyAdhAt kintu bhayAt mRto'smi / adhunAhaM na jIvitaM jIvAmi, kintu bhayaM jIvAmi / na vane kintu klaibye zvasimi / na tRNamadmi kintu mama dvandvamadmi / na hariNyAm, api tu svalaghutAyAM me snehaH / ko'pi mama mRgatvAya mRtyu dadAtu (mRgatA - 1) nagara sabhyatA meM santrAsavAda, AjIvikA, pradUSaNa, bhaya, mahagAI Adi ke bica Dara Dara kara jInevAlA manuSya zAkuntala kA mRga bana gayA hai / 'mRgatva' kA pratIka manuSya kI lAcArI, bhaya, santrasta mAnasikatA sUcita karatA hai| abhirAja DaoN. rAjendra jI gajala 'mano lagnam' meM menakAM tvAM nijAzrame labdhvA kauzikIbhUya me mano lagnam // vAtalolaM tavAJcalaM dRSTavA kaNTakIbhUya me mano lagnam // caJcalaM prekSya bhAgyapAThInam / dhIvarIbhUya me mano lagnam // prItipatre'rdha evaM mukte'pi vAcakIbhUya me mano lagnam // sUtradhArasya te'vituM nATyam / mAriSIbhUya me mano lagnam // (madhuparNI pR. 18) Adi paMktiyoM meM mana kA cAMcalya, Avega, adhIratA, praNaya kI vivazatA aura paramAtmA ke sAtha AtmA kI sRSTiprapaMca meM lIlA-zAkuntala kI pRSThabhUmi meM naye saMdarbha prastuta haiM / jisa samaya 'moharA' philma kA gIta 'tuM cIja baDI hai masta masta' kI dhUna logoM ke mana meM savAra thI taba eka saMskRta kavi kA citta vyagratA se vahI laya meM zAkuntala ke sandarbha se 'kAntAsammita' upadeza kaise detA hai yaha DaoN. bhAskarAcAryajI kI gIti batAtI hai tvaM zabdasaMyamaM rakSa rakSa paurava nijaniyamaM rakSa rakSa paramparA aura AdhunikatA 89 For Private and Personal Use Only

Page #93
rasapAnadakSa he navalayakSa ! kamanIyamAzramaM rakSa rkss...||1|| tvaM zabdasaMyama grIvAbhaGgaM hariNaH pazyati cakSurbhaGgaM hariNI pazyati nanu tanubhaGga mA takSa takSa vRzvikAsaMkramAd rakSa rkss...||2|| haridattazarmA bhI gItikAvyoM meM rAmAyaNa, mahAbhArata, praziSTa kRtiyoM ke mithaka lete haiM / 'tava sparza sparza' mere kAvya saMgraha meM zakuntalAyA ukti: meM zakuntalA kI duSyanta prati ukti meM 'nArI saMvedanA' dekhiye adhunA zakuntalAyA mRtakalevare sarvadamanasya mAtA jIvati dharmakaJcukadhAriNA tvayA vismRtaM yat zAkhayA lUnaM prasUna kathaM punarjIviSyatIti / vayaM striyaH vidhAtrA netrajalanirmitAH / vayaM striyaH paramezvaraniHzvAsaracitAH / vayaM nAryaH paramezvareNa nirmitaM duHkhaM bhoktumeva sRSTAH / kintu praznamekaM pRcchAmi yadvanavallIpAlanAsamarthena bhavatA kasmAd vanAd unmUlitA latA ? kasmAd vanAd unmUlitA latA ? (tava sparze sparze pR. 111) 'rAmAyaNa' ke mithaka ko lekara 'vartamAna bhArata ko kavi isa taraha citrita karatA hai / : 90 sAmIpya : pu. 25, saMDa 3-4, moTo. 2008 - bhArtha, 2008 For Private and Personal Use Only

Page #94
rAvaNarAjyam laGkAyAM sItAyA ekadaiva hyapaharaNaM jAtam / laGkAyAM samRddhirAsIt / ('garIbI haTAo' ityAdIni sUtrANyapi nAsan / ) (rAvaNasya 'benka akAunTa' vyavasthA 'svIsa' benke nAsIt / ) rAvaNa eka eva matibhraSTa AsIt / suvarNabhittiSu AtaGkavAdasya chAyA nAsan / (rAvaNajanmabhUmivivAdo'pi nAsIt ) (mandodaryo videzapravAseSu rAvaNaiH saha na jagmuH / ) laGkAyAm eko vibhISaNo'pi AsIt / (mRgayA - pR. 16) 'nagare' nAmakI eka choTI kavitA meM rAmAyaNa kA sandarbha Adhunika zahara sabhyatA kI hiMsaka vRttiyoM ko isa taraha citrita karatA haiM - nagare rAmAyaNakAle rAkSasA vane nyavasan / adhunA vanAni chinnAni / ataH varAkA rAkSasAH... / paramparA saMskRti, sabhyatA aura svaparicaya ko lupta hote dekha kara duHkhI hotI hai| bhUgola ke mAnacitra pUraNa prazna ko kAvya ke rUpameM prayukta dekhiye mAnacitrapUraNapraznaH bhAratasya mAnacitre nimrasUcitavastUni darzayantu - paramparA aura AdhunikatA 91 For Private and Personal Use Only

Page #95
/ sAmpradAyikaH sadbhAvaH % netRNAM vacanapAlam anItirahitA: zuddhaparIkSA // nAgarikeSu prAmANikatA vyavasthAyuktA vidyAsaMsthAH utkocaharasevakarahitaM 444 bubhUkSitaridranArAyaNarahitaM sthAnam vyavasthAtantram 0 bhraSTAcArarAhityam (mRgayA 26) isa samAja meM vyApaka bhraSTAcAra ko dekhakara pula banAnevAle kaise samRddha hote haiM usake bAre meM 'setubandha' kA mithaka lekara likhI gaI yaha kavitA dekhiye - setubandhasya nirmANaM kartavyaM kartavyaM re kartavyam / pASANamitAni rUpyakANi kSiptAni / setubandhanirmANakAryaM bhavyamAsIt bhavyamasti, bhavyaM bhaviSyati / setuH svanAmadhanyAnAmAdezAd viracitaH svanAmadhanyaira udghATanaM kRtam / rAmasya sainyaM gamiSyati vA neti na jAne / kSudrakA vAnarAH setubandhena 92 sAmIpya : pu. 25, 3-4, moTo. 2008 - bhArtha, 2008 For Private and Personal Use Only

Page #96
tariNyanti vA mariSyantItyapi na jAne / yaH setubandhanirmANakaro'sti sa (suvarNa) laMkAM prApnoti nUnam / (sparzalajjAkomalA smRtiH pR. 74) 'reDalAITa' eriyA meM rahetI 'seksavarkarsa' ko bhI kavi kI lekhinI AkRti detI hai adhunA rAmaH paccavaTIM vihAya gataH / atra santi nizAcarANAM saJcAraH (tava sparze sparza, pR. 147) kenApi rAmeNa vyaktA, kenApi nalena nirvAsitA kenApi duSyantena vaJcitA kenApi harizcandreNa visaSTA... vAsanAyUpe baddhA sA dUyate kintu na hanyate / (bhAvasthirANi jananAntarasauhadAni, pR. 71) Adhunika kavitA ke lie samagra vizva hi usakI cetanA hai / 'praNaya kI do abhivyaktiyA~ yahA~ prastuta haiM / donoM meM naye bimboM se AjakI kavitA meM jo parivartana AyA hai usakA khayAla AyegA mama praNayaH kAhirAnagarazoSaprAptA USaramRttikAsamA mama manasaH sthitirasti / itsiMgaparyaTakaviSamamArgasamo'sti divasaH / dhruvapradeze himakhaNDena gRhIteva rAtriH 'kArAkorama' ityAkhye ghATapradeze calatIva samayaH, hindukuzaparvatazikharAt pAraM gacchatIva lakSyate pratIkSA / eka: zvAso'pi phuphphusAt lAvArasamupaspRzya bahirAgacchati / cambalakandarA''zritA aparAdhayuktA iva vAsanA paramparA aura AdhunikatA 93 For Private and Personal Use Only

Page #97
AtaGkaM nItvA prasaranti / irAnadezasya jvAlAgrastatailakSetramiva mayi kiM prajvalati ? jagvAravimAnAnAM vyastaparivartanacchAyA mama rudhirAbhisaraNatantre mizritAH santi / alakanande / 'inseTa bI' upagraho'pi mama praNayAvegasya chaviM gRhItuM na zaknuyAt // praNaya meM Avega, nirAzA, pratIkSA, saMtApa, utsukatA, milanecchA kA prAbalya naye saMdarbho ke sAtha praNayI-mana ko anubhUti prastuta karatA hai| dUsarI kavitA meM praNayapAtra ko upAlambha dete hue isa taraha nirAzA kI abhivyakti hotI hai kasmAt prajvAlayasi dIpam ? kasmAt kSipasi hirozimAnagaropari candrikAsamAM dRSTim ? kasmAt spRzasi lAvAdravadagdhaviSuviyasaparvate vRSTivat mama mlAnagAtram ? kasmAt pravizasi pirAmiDajINagarbha vasantalaharIvada hRdayavivikte ? kasmAt prasArayasi koNArkadhvastamandire timirasamaM kezapAzam ? kasmAt smArayasi maNikarNikAkSiptAsthikhaNDe gaGgAjalamiva atItakSaNaprema ? kasmAd bravISi saharAsikatAsu himajalasvapnavan maunamayI bhASAm ? 94 sAmIpya: 5. 25, 3-4, moTo. 2008 - bhArtha, 2008 For Private and Personal Use Only

Page #98
kasmAd darzayasi vhelamatsyAsthipajjare jalomivat prItim ? barlinanagarabhittistu nazyet kintu dvedhA vibhaktaM hRdayaM kathaM zAnti labheta ? kasmAt prajvAlayasi tvaM dIpaM samAdhisthAne ? ___paramparA ko nayA rUpa dekara nayA yugabodha lAnA bhI AdhunikatA kA kAma hai, sAtha meM bhAratIya kavitA meM apanI pahacAna banAnA bhI saMskRta kavitA kA dhyeya hai| AnevAlA samaya hi sAkSI hai saphalatA kA / sandarbha sAmagrI saMskRta kaviyoM ke saMgraha. rAdhAvallabha tripAThI, saMskRta sAhitya : bIsavIM zatAbdI. gujarAtanuM saMskRta prAkRta sAhityamA pradAna, kAnajIbhAI paTela sanmAna samIti, pATaNa, 2005 Post Independence Sanskrit Literature A Critical Survey, Patan,2005 Contribution of Gujarat to Sanskrit Literature : Dr. Manibhai Prajapati Felicitation Volume; Patana, 1998 zruti harSadeva (saM.), Adhunika saMskRta meM arthapUrNa abhivyakti kI kavitA, 2005. DaoN. harSadeva mAdhava, saMskRta samakAlIna kavitA, saMskRta sAhitya akAdamI, 1999 maMjulatA zarmA aura pramoda bhAratIya, arvAcIna saMskRta sAhitya dazA evaM dizA, parimala pablikezana, 2004 4. ) i paramparA aura AdhunikatA 95 For Private and Personal Use Only

Page #99
Shri Mahavir Jain Aradhana Kendra bhUmidAna ane tAmrapatro DaoN. hariprasAda zAstrI* bhAratIya samAjamAM dAna ghaNo mahimA dharAve che. mahAbhArata ane purANomAM dAnane lagatAM aneka adhyAyo ApelA che. dAnanA viSaya para aneka viziSTa prabaMdhagraMtha lakhAyAM che. dAna devAnAM vividha dravyomAM suvarNa, dhenu, azva, hastI, bhUmi, kanyA ityAdi 'mahAdAna' gaNAtAM. dhenu, bhUmi ane vidyAnuM dAna 'atidAna' manAtuM. emAM bhUmi dAna sarvottama koTinuM dAna manAtuM. bhUmi dAnathI dAnalenArane kAyamI UpajanuM akSaya sAdhana prApta thatuM, je ene jIvanaparyaMta upayogI nIvaDatuM. vaLI bhUmidAnano lAbha dAna lenAranA putra-pautrAdika vArasone paNa paraMparAgata raheto. AthI bhUmidAna karAtAM hamezAM ene lagatuM rAjazAsana lakhI ApavAmAM AvatuM ne e lakhANa dAnalenAranA kuTuMbane peDhIo ne peDhIo lagI sAcavI rAkhavuM paDatuM. A kAraNe bhUmidAnane lagatuM rAjazAsana tAMbAnAM patarAM para kotarAvIne ApavAmAM AvatuM. AthI tAmrapatro para kotarelAM doDheka hajAra varSa jeTalAM lAMbA kALanAM aneka dAnazAsana mojUda rahelAM che. bhUmidAnane lagatuM rAjazAsana kotarelAM tAmrapatrone gharanI dIvAlamAM, pAyAmAM ke jamInanI aMdara sAcavI rAkhavAmAM AvatAM. tAmrapatro para kotarelAM TUMkAM dAnazAsanonA sahuthI jUnA namUnA uttara bhAratamAM pahelI sadInA prApta thayAM che. vigatavAra dAnazAsananA sahuthI prAcIna namUnA cothI-pAMcamI sadInA maLyA che. gujarAtamAM maLeluM sahuthI prAcIna tAmrapatra cothI sadInuM che. valabhInA maitraka vaMzanA rAjAonAM eksothI vadhu tAprazAsana maLyAM che. gurjaro, cAlukyo ane rASTrakUTonAM paNa ghaNAM tAmrazAsana prApta thayAM che. A tAmrazAsano e rAjavaMzonA rAjakIya tathA sAMskRtika itihAsa mATe mahattvanuM sAdhana che. solaMkI vaMzanAM paNa aneka tAmrapatra maLyAM che. bhUmidAna devAno adhikAra prAyaH rAjakulane rahelo hato. rAjAo potAnAM mAtApitAnA temaja potAnA puNyanI abhivRddhi mATe bhUmidAna devAnI utkaTa bhAvanA dharAvatA. bhUmidAnamAM ghaNI vAra kSetra(khetara) vApI (vAva) ke kUpa (kUvo)nuM ane koI vAra AkhA grAma(gAma)nuM dAna devAtuM. dharmadAyano pratigraha (svIkAra) karanAranI dRSTie enA be varga pADavAmAM AvyAM che - devadeya (devane arthAt devAlayane arpaNa karela dAna) ane brahmadeya arthAt brAhmaNane Apela dAna. dharmazAstranI paribhASAmAM dAna denA2ne vAtA, dAna lenArane pratipraddItA ane dAnamAM devAtA padArthane taiya kahe che. dAnazAsanamAM dAna devAmAM rahelo dAtAno hetu temanA e dAna vaDe enA patigrahItAne thatA lAbha jaNAvavAmAM Ave che. devAlayane arpaNa dAnanuM prayojana devanI sakala pUjA cAlu rAkhavAnuM, vAghagIta, nRtyAdi mATenA upayoganuM, sevakanA bharaNapoSaNanuM ane devAlayanA samArakAmanuM jaNAvAtuM. brahmadAya dAna lenAra brAhmaNa bali, caru, vaizvadeva, agnihotra ane atithinI paMcamahAyajJanI kriyAo karI zake te mATe apAtuM, bauddha vihArane apAtuM bhUmidAna emAM vasatA ke bahArathI AvatAM bhikSuonAM cIvara, bhikSA, zayana, Asana ane roga-nivAraNanA bhaiSajayatI jogavAI mATe apAtuM. dAnazAsanamAM AraMbhe OM, svasti ke siddham jevAM maMgaladAyaka zabda prayojAtAM. pachI rAjazAsananuM sthAna (rAjadhAnI ke anya sthAna) darzAvatuM. dAtAne lagatA vRttAMtamAM pahelAM enA vaMzanuM nAma, pachI purogAmI rAjAonI * 'suvAsa', 192, AjhAda sosAyaTI, AMbAvADI, amadAvAda-380015 96 sAmIpya : pu. 25, aMka 3-4, okTo. 2008 For Private and Personal Use Only - mArca, 2009

Page #100
tathA dAna denAra rAjAnI prazasti gadyamAM ke padyamAM apAtI. dAtAnA pakSe dAna devAno hetu jaNAvAto. pratigrahItAmAM devAlaya ke vihAramAM enA nirmAtA, sthAna ityAdi vigata apAtI. brAhmaNa pratigrahItAnA viSayamAM enA sthAna, gotra, veda, pitAnuM nAma ane enuM nAma jaNAvAtuM. dAna levAmAM enuM prayojana darzAvAtuM. deya bhUmimAM vahIvaTI vibhAga, gAmanuM nAma, bhUminuM sthAna tathA mApa, enAM khUMTa vagere vigata apAtI. pachI dharmadAya tarIke bhUmidAna devAno mahimA tathA enA ullaMghanathI lAgato doSa jaNAvAto. Acharya Shri Kailassagarsuri Gyanmandir dAnazAsananI madhye ke enA aMte dAnanI miti saMvata, varSa, mAsa, pakSa, tithi ane keTalIkavAra vAranI vigata sAthe jaNAvavAmAM AvatI. bhUmidAnanuM rAjazAsana lakhavA mATe keTalIka vAra rAjAnI svamukhAjJAno AdhAra apAto to keTalIka vAra sAttvi vigrAhaka jevAM koI ucca adhikArI dvArA rAjasaMdezo maLyAnuM jaNAvAtuM. A adhikArIne dUtaka kahetA. dAna zAsananA aMte rAjAnA dasakhata (svahasta) paNa hoya che ne rAjazAsana lakhanAra adhikArIne lekhaka kahevA. bhUmidAnane lagatAM rAjazAsana Ama je te samayanA rAjakIya tathA sAMskRtika itihAsa mATe vipula sAmagrI pUrI pADe che. bhUmidAnane lagatuM rAjazAsana lakhAI gayA pachI tene tAMbAnAM patarAM para kotaravAmAM AvatuM. ene 'tAmrapatra' kahe che. emAM tAMbAnAM be ke bethI vadhu laMbacorasa patarAM levAmAM Ave che. emAM sahuthI upalA ane nIcalA patarAne koruM rAkhavAmAM Ave che. lakhANa patarAMnI aMdaranI bAju 52 kota2vAmAM Ave che. patarAM bethI vadhu hoya, to aMdaranAM patarAMnI baMne bAju para kotaravAmAM Ave che. lakhANa laMbacorasa patarAnI lAMbI bAjune samAMtara lITImAM lakhIne kotaravAmAM Ave che. badhAM patarAMnI eka bAjunA cheDA pAse be kANAM pADavAmAM Ave che. eka kANAmAM tAMbAnI vRttAkAra kaDIne enA be cheDA aDADIne khosavAmAM Ave che, jyAre bIjI lAMbI kaDInA be cheDAne joDIne enI upara pIgALelA kAMsAno gaThTho lagAvI enI upara rAjamudrAnI chApa lagAvavAmAM Ave che. emAM rAjavaMzanuM viziSTa pratIka tathA dAnadenAra rAjAnuM nAma aMkita karyuM hoya che. dakSiNa bhAratamAM tAmrapatra ghaNI ochI UMcAI dharAvatAM hoI emAM traNa, pAMca, sAta ke ethI vadhu patarAM hoya che. bhUmidAna ane tAmrapatro Ama bhUmidAnane lagatAM tAmrapatro 52thI je te rAjyanA je te samayanAM rAjakIya tathA sAMskRtika itihAsane lagatI anekavidha mAhitI prApta thAya che. For Private and Personal Use Only 97

Page #101
Acharya Shri Kailassagarsun Gyanmandir gItagoviMda ane kRSNagIti DaoN. priyabALA zAha* gItagoviMdano kathAprasaMga A pramANe che : vasaMta RtumAM rAdhikA kRSNane vRMdAvananI kuMjomAM zodhe che. tyAM "saMyogasakhI' AvIne rAdhAnI utkaMThAmAM Ama bolIne vadhAro kare che ke "gopIonA chaMdamAM kRSNa krIDA kare che te to jo.' zrIkRSNane gopIonA chaMdamAM joIne rAdhA yamunAnA tIre nirjana latAkuMjamAM cAlI jAya che ane potAnI sakhIne kRSNa sAthe pUrve thayelI potAnI ratikrIDAnI vAta kare che. kRSNa gopAMganAone tyajIne rAdhAne kaMje kaMje zodhatA lAcAra banIne kAlindInA tIre AvIne bese che. tevAmAM sakhI utAvaLI AvIne rAdhAnI virahI avasthAnI jANa kare che. zrIkRSNa sakhIne rAdhAnI pAse mokale che ane samajAvIne tene bolAvI lAvavA kahe che. virahakRza rAdhA UThe che paraMtu paga mAMDatAM ja te DhaLI paDe che. A hakIkata sakhI kRSNa pAse jaIne varNave che. AthI kRSNa latAkuMje jAya che, paraMtu mArgamAM ja caMdrAvalI Adi sakhIo maLatAM vilaMba thAya che. tethI rAdhA mAne che ke "zrIkRSNa tene ThagI. pratinAyikAthI chUTIne kRSNa rAdhAnI pAse Ave che ane vilaMba thavA badala rAjA pAse mAphI mAge che. pratinAyikAnAM cihno kRSNane lAgelAM che tethI rAdhA kaThora vacanathI kRSNane tiraskAre che. kRSNa pote muddA sAthe pakaDAyA hovAthI cUpacApa khasI jAya che. tethI rAdhAno roSa ApoApa dhImo paDe che. te daramiyAna kRSNanI sakhI AvIne rAdhAne samajAve che. virahAtura rAdhA gaLagaLI banI aMtaramAM zocatI beThI che. tyAM kRSNa AvIne tene madhura vacanothI vinave che. bhagavAna tene manAvIne jAya che tyArabAda kRSNadUtI rAdhAne teDavA jAya che. zaNagAra sajIne beThelI rAdhA sakhI sAthe kRSNane jaIne maLe che. sakhInA vidAya thayA pachI kRSNa rAdhAne rIjhavIne ratikrIDA kare che. te samaye rAdhAnI velI chUTI jAya che. tethI zrIkRSNa rAdhAnI veNI gUMthI zaNagAra sajAvI tenA manoratha pUrA kare che. have ApaNe kRSNagItinuM kathAvastu joIe : A kAvyano viSaya paNa rAdhAkRSNanA premano che. rAdhA tenA svapramAM potAnA priyatama kRSNane tenI bIjI sakhIo sAthe jue che. tethI rAdhA gusse thAya che ane azru sAthe jAgI UThe che. vAstavamAM kRSNa ja rAdhAne jagADatA hoya che, rAdhA svaprAvasthAmAM che tethI te "mAna" mAge che. ane kRSNane tajI de che. AthI goviMdadUtI rAdhAnI pAse AvIne "mAna' mUkavA tene samajAve che ane kahe che ke kRSNa kuMjavanamAM tenI vATa jue che. svapna kAraNe tAre kRSNa sAthe roSa nA karavo joIe ane kRSNa navanikuMjagRhamAM tArI AturatAthI rAha jue che. (aSTapadI 2, zloka 4). sakhI rAdhAnI dazA jue che, rAdhA kRSNamaya che ane te paNa kRSNane maLavA khUba Atura che. paraMtu te potAnI jAte kRSNa pAse jatI nathI. AthI te rAdhAne kRSNa pAse javA khUba samajAve che. (a.3). kRSNadUtI rAdhAnI A sakhIne kRSNa pAse laI jAya che ane kRSNane rAdhAnI virahadazA sakhInA mukhe varNavIne saMbhaLAve che (a.4), rAdhAnI virahAvasthA varNavIne sakhI te ja vAta gIta dvArA kRSNane pharIthI bhArapUrvaka jaNAve che (a. 5). tyArabAda sakhI rAdhA pAse pAchI jAya che ane tene kahe che ke kRSNa paNa premanI dazAmAM che, ane rAdhAnuM nAma raTaNa karyA kare che; ane rAdhA jo kRSNa pAse jaze to kRSNa tene mAna ane prema sAthe AvakAraze (a.6); sakhInAM, priya madhura vAkyo sAMbhaLIne rAdhA potAnA premathI tenA upara prasa karavAne mATe jAya che, vAstavamAM rAdhA mATe kRSNano viraha asahya thaI gayo hato ane kRSNa pAse javA te adhIrI banI hatI. AthI tene kRSNa * pUrvaAcAryo, mAtuzrI vIrabAImA mahilA kaoNleja, rAjakoTa sAmIpya : pu. 25, aMka 3-4, okTo. 2008 - mArca, 2009 98 For Private and Personal Use Only

Page #102
pAse javAne koI nimittanI jarUra hatI (a.7). aSTapadI 8 thI 19mAM rAdhA ane kRSNanI ratikrIDA varNavelI che. chellI aSTapadI 20mAM rAdhA kRSNane potAnA jevI vezabhUSA ane alaMkAra paherAvavA vinave che, ane kRSNa paNa sAme evI ja mAgaNI kare che. A rIte rAdhA kRSNa bane che ane kRSNa rAdhA bane che. A bhakta ane bhagavAnanA tAdAtmyanuM pratIka che. kRSNagIti ane gItagoviMdamAM vastusAmya che. baMnemAM bhaktirasa ane zRMgAra che. baMnemAM zRMgAranA prakAro - vipralaMbha ane saMbhoga varNavAyelA che. vipralaMbha mAna-vipralaMbha che. kAvyazAstranI rUDhi pramANe 'mAna'nAM traNa nimitto bane che : (1) kAMIka sAMbhaLyuM hoya tenAthI 'zruta', (2) anumita athavA kazAkanA anumanathI, (3) athavA kAMIka pratyakSa jovAthI ''dRSTi'; paraMtu kRSNagItimAM svapnane nimitta banAvAyuM che. A prakAranA kAvyamAM vyakta thato zRMgAra, bhAvano unmAda bhoga sudhI pahoMce che. A jAtanA kAvyamAM zRMgAramAM bhoga bhAvonmAdane mUrta kare che. sUphIvAdano 'mastI' zabda ahIM barAbara baMdha bese che. 'mastI' atyaMta virahanI vedanAnA utkaTa saMbhoganA nirUpaNathI thAya che. AvA rAdhAkRSNanA prema, viraha ane milananA kAvyamAM koI apUrva vyaMjanA hoya che. A apUrva vyaMjanA e mAnavI ke laukika ratinI nathI paNa lokottara ratinI che arthAt ke bhaktinI che. A niSpatti rasamaya ane manohara vANImAM vyakta thayelI che. je bhaktano bhagavAna prati unmatta prema hoya che te evI unmatta premamaya vANImAM saraLatAthI vahe che. zabda zodhavA mATe kavine prayatna karavo paDato hoya ema dekhAtuM nathI. kRSNagIti somanAtha kavinI kRti che. A somanAthanuM nAma nAbhAjIe potAnI bhaktamALAmAM smaryuM che. somanAthano samaya caudamA ane soLamA saikAnI aMdara mUkI zakAya che. kRSNagIti zrI jayadeva kaviracita gItagovindanA namUnA upara racAyeluM kAvya che. saMskRta sAhitya moTe bhAge akSarameLa ke mAtrAmeLa chaMdomAM racAyeluM che. temAM prAkRta, apabhraMza ane jUnI prAdezika bhASAomAM pracalita padono upayoga virala jovA maLe che. zrI jayadeve AvAM padono gItagoviMdamAM bahoLo upayoga karyo che. A padonI racanA gAnane mATe che. hakIkatamAM to gItagoviMdanI pratyeka aSTapadIne mathALe tenA rAga ane tAla paNa ApelA che. kRSNagItimAM paNa aSTapadImAM rAga ane mAtra ekamAM tAla Apelo che. A vize DaoN. sunItikumAra caeNTarajIno mata vicAravA jevo che : ''kAvyanuM cokaThuM, varNanAtmaka bhAganA padya zloko klAsikala saMskRtanI jUnI zailImAM rIta ane chaMdo, vicAra ane zabdabhaMDoLamAM che. chatAM paNa kAvyamAM apabhraMza ane prAcIna bhASA ke navI bhAratIya Arya bhASAnA vAtAvaraNano dhabakAra jaNAya che.'' gItagoviMdano viSaya rAdhAkRSNano premarasa che, arthAt ke pAribhASika zabdomAM ratibhAvasUcaka zRMgA22sa che, te be prakAre nirUpAyo che H vipralaMbha rUpe ane zRMgAra rUpe. kRSNagItimAM paNa A ja viSaya ane A ja padazailI che ane A ja padaracanA che. kRSNagItinA prAraMbhamAM jaNAvyuM che ke A kAvya kIrtilobha mATe nathI lakhAyuM paraMtu hiranA guNa gAvA mATe ane potAnA manovinodana mATe ja lakhAyuM che. saMkSepamAM A vrajanAthanuM kIrtana che. AthI te bhaktirasanI kRti che tema samajIne ja kavie A kAvyane vicAravA vinaMtI karI che. vadhumAM noMdhe che ke kavi jayadevanI sAthe spardhA karavAno paNa potAno Azaya nathI. vidvAnone khuza karavA mATe ke rAjya pAsethI dhananI prApti mATe paNa A ja gItagoviMda ane kRSNagIti For Private and Personal Use Only 99

Page #103
bhaktirasabharyuM kIrtana racyuM nathI. paraMparA pramANe paNa rAdhAkRSNanA AlaMbanavALuM AvuM kAvyanirUpaNa e bhaktino eka prakAra che. zrI rUpagosvAmI potAnA "ujjavala nIlamaNi' nAmanA graMthamAM AvA zRMgArarasane madhura prakArano bhaktirasa kahe che. Avo bhaktiprakAra - unmatta premano - zRMgArano - vidvAno ane vicArakone carcAno viSaya thayo che. AvI eka carcA DaoN. esa.ke.De e lIlAzukanA kRSNakarNAmRta kAvyanA samarthanamAM karI che. rayAtmaka rahasyavAda (Erotic mysticism) upaniSada jeTalo jUno che. AvA prakAranI bhaktinI preraNA madhyayuganA vaiSNava sAhityamAMthI ApaNane maLe che. te zrImad bhAgavata ane zAMDilya ane nAradanAM bhaktisUtromAM joI zakAya che. mekanIkola (Macnicol)nA mate badhA rahasyavAda (mysticism)nuM eka ja dhyeya che. A dhyeya ekIbhAva - advaita(Unitive life)nuM che. rahasyavAdanuM tattva premanA A prakAranA svarUpamAM che ane te bhaktisaMpradAyamAM bhakta ane bhagavAnanI ekatA sAdhavAmAM svIkArAyuM che. nArada ane zAMDilya temanI bhaktinAM lakSaNamAM premanA tattva upara bhAra mUke che. nArada kahe che : sA vaizmina paramaprema svarUpA (1, 2) zAMDilya tene sA sA paranurarUirIzvare (2.2) e rIte varNave che. A pramANe prema ane anurAganuM AlaMbana Izvara bane tyAre te premalakSaNAbhakti thAya che. keTalAka mysticsnA mate bhaktimAM je bhAva vyakta thAya che te zRMgAranA bhAvane anurUpa hoya che ane zRMgAranI bhASAmAM ja darzAvI zakAya che. A prakAranA bhaktakavionI pratibhAmAMthI AvAM gItagovinda ke kRSNagIti jevAM kAvyo sarjAya che. 100 sAmIpya : pu. 25, aMka 3-4, okTo. 2008 - mArca, 2009 For Private and Personal Use Only

Page #104
parasya nATya-vibhAvanA DaoN. vasantakumAra ma. bhaTTa* bhUmikA : saMskRta nATyazAstra ane nATyakRtio enA vaividhya, vyApa ane kalAtmakatAne kAraNe vizvasAhityanAM anivArya aMga banI cUkyAM che. paNa jyAre koI sAhitya vizvasAhityamAM sthAna pAme che tyAre tenuM tulanAtmaka dRSTie paNa avalokana zarU thAya che. pAzcAtya dezonAM nATakonI sarakhAmaNImAM ApaNA-pUrvanA dezanAM-nATakonuM svarUpa kevuM che ane kayA lakSyane laIne tenI racanA thaI hatI te vicAraNIya bane che. tethI prastuta lekhamAM, A saMdarbhamAM, asaMkhya saMskRta rUpakone joI-tapAsIne nATyazAstrIoe je tAravaNI karI che, tene najara sAme rAkhIne paurasya nATyavibhAvanAne rajU karavAno eka prayAsa che. bharatamunie "nATyazAstranA prathama adhyAyamAM nATyanI utpatti vize eka rasaprada purAkathA mUkI che. temAM jaNAvyuM che ke bharatamunie je pahelavahelo eka nATyaprayoga prastuta karyo tene jotAM jotAM dAnavone ema lAgyuM ke amane kharAba cItaravAnA AzayathI A nATyanI racanA karavAmAM AvI che. pariNAme temaNe e nATya-prayogamAM vighna UbhuM karIne, toDaphoDa macAvI dIdhI. indra paNa Ayudha ugAmIne dAnavone jarjarita karI dIdhA. brahmAjIe tyAM upasthita thaIne mAmalo zAnta pADyo ane sAcI samajaNa ApatAM kahyuM ke naikAntato bhavatAM devAnAM cAtra bhAvanam / trailokyasyAsya sarvasya nATyaM bhAvAnukIrtanam // - nATyazAstram (1-103) AvA nATyaprayoga dvArA devone sArA ane dAnavone kharAba nirUpavAno Azaya ja nathI. "nATya' to A traNeya lokanA bhAvonuM (kevaLa) anu-kIrtana karanAra che." ahIM brahmAjInA mukhe bharatamunie eka pAyAnI kahI zakAya evI tAttvika cokhavaTa karI dIdhI che ke vAstavika jagata ane kalAjagata sAva judAM ja che. A traNeya lokamAM aharniza je ghaTanAcakra cAlI rahyuM che - je vividha kriyAkalApo pravartI rahyA che te badhAnI vacce UbhelA mANasanA citta upara je bhAvo-saMvedanAo - jhaMkRta thAya che, tenuM ahIM (nATyamAM) anu-kIrtana thaI rahyuM che. arthAt nATya to vAstavika jIvananI saMvedanAono kalAtmaka-kalAmaya-anubhava karAvanAra che. have vAstavika jIvananI saMvedanAono kalAtmaka anubhava eTale zuM ? ema vicArIe to eno javAba che : rasAnubhava, AnAthI, sUkSma vicAra karatAM, bIjI eka tAttvika cokhavaTa maLI rahe che ke saMskRta nATya e rasAnubhava karAvavA mATe che. eTale ke saMskRta nATyakRtio rasalakSI che. nATyazAstranA prathama adhyAyamAM ema paNa kahevAyuM che ke tretAyugamAM janasamudAyamAM grAmyadharma phelAI gayo ane badhA loko kAma, krodha, lobha ityAdinA vazamAM AvI gayA, ane pariNAme sukha-duHkha anubhavavA lAgyA. AthI indrane AgaLa karIne sau devo pitAmaha brahmAjInI pAse gayA ane C6 - * adhyakSa, saMskRta-vibhAga tathA niyAmaka, bhASAsAhitya bhavana, gujarAta yunivarsiTI, amadAvAda-9 1. vyavahAramAM dAnavo kharAba hoya, ane nATakamAM jo temane kharAba ja nirUpavAmAM AvyA hoya to paNa nATyajagatamAM rajU thayelA dAnavo sAva judA ja che-ema samajavAnuM che. paurasya nATya-vibhAvanA 101 For Private and Personal Use Only

Page #105
krIDanIyakamicchAmo dRzyaM zravyaM ca yad bhavet / na vedavyavahAro'yaM saMzrAvyaH zUdrajAtiSu / tasmAt sRjAparaM vedaM paJcamaM sArvavarNim // - nATyazAstra (1-11,12) AthI brahmAjIe, bharata muni dvArA jene joI paNa zakAya ane jene sAMbhaLI paNa zakAya evA eka 'krIDanIyaka' (ramakaDA) tarIke 'nATya'nI racanA karI che. pachI, prathama adhyAyanA aMte bharata munie ema paNa umeryuM che ke bicArAM duHkhArta, zramArta ane zokArta lokone mATe A nATya ''vinoda" pUro pADanAra banI raheze. vinovananAM Ane nATyametat maviSyati // (nATyazAstram 1-117) Ama bhAratanI nATyakRtio te dunyavI sukhaduHkhamAM ghasaDAtAM lokone mATe eka manovinodana pUruM pADanAra 'krIDanIyaka' che ema bharatamunie zatAbdIo pUrve kahI rAkhyuM che- e sadA avismaraNIya che. (2) have, saMskRta nATyakRtio jo rasalakSI hoya to zuM emAMthI kavie DhALeluM koI jIvanadarzana na tAravI zakAya ?- evo prazna thavo paNa svAbhAvika che. dA.ta. abhijJAnazAkuntalamAMthI kavi zrI umAzaMkara jozIe mahAkavi kAlidAsanuM evuM jIvanadarzana vyaMjita thatuM joyuM che ke zakuntalAmAM samaSTiniSThAno abhAva hato, pariNAme AMgaNe AvIne UbhelA durvAsAno te ajANatAM atithisatkAra karatI nathI ane zApa pAme che. bIjI tarapha, duSyanta haMmezano abhinavamadhulolUpa vyakti che. pariNAme tenAmAM vyaSTiniSThAno abhAva hato. have jo tenI A bhramaravRtti dUra nA karavAmAM Ave to nAyikA zakuntalAnuM ya bhAvi aMdhakAramaya che. rANIvAsamAM rahelI aneka haMsapadikAomAMnI eka vadhu haMsapadikA ja te banI raheta. mATe kavie zApa prayojyo che. A zApa thakI banne vacce viyoga Ubho thAya che. te viyoganI AgamAM banne jyAre saMtapta thAya che tyAre nAyikAmAM rahela samaSTiniSThAno abhAva dUra thAya che. Ama zApa thakI bannemAM rahelI eka eka UNapa dUra thatAM, teo parasparane mATe yogya bane che, kavi Avo saMvAda racIne pachI ja temanuM kAyamI milana yoje che. ''Ama, durvAsAno zApa duSyanta-zakuntalAnA dAmpatyane ekI sAthe vyaSTiniSTha tema ja samaSTiniSTha bhUmikA upara dRDhapaNe sthApavA ane saMpUrNa saMvAdI banAvavA pravartamAna thAya che.'' (zAkuntala, anu. umAzaMkara jozI, gUrjara graMtharatna kAryAlaya, amadAvAda, 1988, prastAvanA - pR. 36) Ama zAkuntalamAMthI mahAkavinuM uparyukta jIvanadarzana vyaMjita thatuM zrI umAzaMkara jozIe nirUpyuM che. AvA jIvanadarzanane,kAvyazAstrIya paribhASAmAM, 'vastudhvani' kahevAya che. paNa ApaNA kAvyazAstrIo kahe che ke nATyakRtimAMthI vyaMjita thatAM AvAM koI paNa vastudhvanionuM astitva aMtataH svatantrapaNe vilasatuM rahetuM nathI. AvA vastudhvanio paNa aMte to rasAdidhvanimAM ja jaIne paryavasAna pAme che. eTale kahevAnuM tAtparya e che ke, uparyukta vastudhvani dvArA prekSakonAM citta e vAte Azvasta thaze ke zApa dvArA nAyaka-nAyikAmAM rahelI eka eka UNapa dUra thaI che ane have saMtulita thayelAM e be pAtronA jIvanamAM pharI koI viccheda ke viyogane avakAza raheto nathI. pariNAme duSyanta-zakuntalA vacceno zRMgAra have nirbAdhapaNe satata vilasato raheze. Ama saMskRta nATyakRtiomAMthI sahRdaya bhAvakone judAM judAM vastunio vyaMgyArtha rUpe maLe kharAM, paNa aMte to te kRtinA mukhya rasane ja puSTikara banI rahetAM hoya che. (3) saMskRta nATyakRtio rasalakSI hoya che A kendravartI vicArano pratidhvani 'koI paNa nATyakRtinI kathAgUMthaNI kevI rIte karavI joIe ? enI carcAmAM paNa paDato jovA maLe che. jemake, nATaka, prakaraNAdi dazavidha rUpakonI 102 sAmIpya : pu. 25, aMka 3-4, okTo. 2008 - mArca, 2009 For Private and Personal Use Only

Page #106
Acharya Shri Kailassagarsur Gyanmandir kathAgUMthaNI karavA mATe "paMcasandhi'no vicAra nATyazAstramAM rajU thayo che. tyAM bIja, bindu, patAkA, prakarI ane kArya-evI (yathAzakya) pAMca "arthaprakRtinI sAthe anukrame AraMbha, yatna, prAcAzA, niyatApti ane phalAgamajevI pAMca "avasthAo' joDAya che. tyAre 1. mukha, 2. pratimukha 3. garbha, 4, avamarza ane 5. nirvahaNa - nAmanI pAMca sandhio racAya che. (nATyazAstrIoe A pAMca sandhione pAchI 64 saagomAM paNa vibhakta karI batAvI che.) kavi jayAre amuka kathAvastu pasaMda karIne, tene AdhAre jo koI nATyakRtinuM nirmANa karavA mAMgato hoya to te kathAvastunI gUMthaNI teNe (64 sampaMgo sahitanI) pAMca sandhio mujabanI karavI joIe-evo mArgadarzaka siddhAnta sthApavAmAM Avyo che. paNa nATyakathAnI gUMthaNI mATenA A siddhAntano amala karavA bAbate AnaMdavardhane je eka cokhavaTa karI che te atre smaraNIya che : sandhisandhyaGgaghaTanaM rsaabhivyktypekssyaa| tu vayA zAstrasthitisAnecchA - dhvajAto: (rU-22) (nATyakRtimAM) pAMca sandhio ane 64 sampaMgonI gUMthaNI rasanI abhivyakti thaze ke nahIM? - te muddo dhyAnamAM lIdhA pachI ja karavI. "zAstrakAroe pAMca sandhio prayojavAnI kahI che, mATe te darekane mAre (kavie) gUMthavI ja joIe.'- evI, kevaLa zAstrAjJAne caritArtha karavAnI icchAthI pAMceya sandhione haMmezAM gUMthavAnI ja hoya-ema nahIM." arthAt nATyakRtimAM sandhi-saLaMga mujabanI kathAgUMthaNI karavAnI je vAta kahevAI che tene eka sAmAnya "mArgadarzaka siddhAnta" rUpe ja jovAnI che; tene "aparivartanIya AjJA" rUpe jovAnI nathI ema AnaMdavardhane spaSTIkaraNa karI ApyuM che. A spaSTIkaraNa umeravAnI pAchaLa mULa je vAtanuM hArda chupAyeluM che te vAta e che ke saMskRta nATyakRtione rasalakSI banAvavAnI che e bhUlAvuM na joIe. saMskRta nATyakRtionI racanAnA saMdarbhe je pAMca sabdhiono vicAra rajU karavAmAM Avyo che, temAM nATya kRtine rasalakSI kevI rIte banAvavI- enI eka yukti paNa garbhita rIte kahevAmAM AvI che. jemake, garbhasandhimAM eka "prApyAzA' nAmanI avasthA che, jemAM nAyakane nAyikAnI prApti thavAnI AzA baMdhAya che. (nAyaka pote nAyikAne ekapakSIya prema karato nathI, paraMtu nAyikA paNa nAyakane cAhe che, nAyakane meLavavA icche che ema jyAre koI prasaMga dvArA jANavA maLe che tyAre tene prANAzA' kahe che.) tyAra pachInI avamarza - sandhimAM je "niyatApti nAmanI avasthA che, temAM nAyakane nAyikAnI prApti thavAmAM koIka aMtarAya Ubho thaI jAya che, tyAre tene nAyikAnI prApti niyata (=saMyata) banI che" ema kahevAya che. have, A "niyatApti' nAmanI avasthA rasanA paripoSaNa mATe je rIte upakAraka bane che te samajIe-zRMgArarasapradhAna kRtimAM, raMgabhUmi upara nAyaka-nAyikAnuM judI judI rIte satata milana ja batAvavAmAM Ave to, jevI rIte komaLa evA mAlatI puSpane vArevAre sUMghavAmAM Ave to te jaldIthI plAna thaI jAya che, tevI rIte zRMgAra jevA najAkata bharyA rasanuM punaH punaH pradarzana karavAmAM Ave to te paNa kaphoDI sthiti pedA kare. koI eka rasanA paripoSaNa mATe to udIpana ane prazamananI yukti ja akhatyAra karavI joIe. eTale ke prApyAzA thakI zRMgAranuM ekavAra uddIpana thaI jAya pachI kavie kathAvastumAM koIka antarAya lAvIne, bannenA milanamAM rukAvaTa paNa AvIne UbhI che ema batAvavuM joIe. jethI karIne zRMgAranuM ghaDIka prazamana paNa thAya. Ama rasanA paripoSaNa mATe uddIpana ane prazamananI je anivArya AvazyaktA che. tene mATe A "garbha" ane "avimarza' sandhio vicAravAmAM AvI che. AvAM udIpana ane prazamananAM sundara pauramya nATya-vibhAvanA 103 For Private and Personal Use Only

Page #107
udAharaNo mAlavikAgnimitra ane ratnAvalImAMthI maLI rahe che. (4) kathAgUMthaNInI nATyazAstrokta A rItimAM paNa saMskRta nATyakRtione rasalakSI banAvavAnI ja goThavaNa karI ApavAmAM AvI che - ema ApaNe joyuM. paraMtu A vicAraNAmAM ja haju sudhI ajJAta/anullikhita rahelI eka sUkSma vigata paNa dhyAna upara levA jevI che : nATyazAstra saMskRta nATyamAM 'niyatAmi' nAmanI je avasthA mUkavAnuM sUcana karyuM che teno matalaba evo che ke nATyakRtiomAM kevaLa nAnA aMtarAyo - haLavA prakAranI rukAvaTaja mUkavAnA che. arthAt emAM koI tIvra saMgharSo mUkavAnA nathI. pazcimanAM nATakomAM je tIvra saMgharSo dvArA iSTa hAni (=nAyaka ke nAyikAnAM maraNa) sudhInI ghaTanA mUkInA trAsadInI racanA karavAmAM Ave che, tene saMskRta nATyasAhityamAM sthAna nathI. balke, saMskRta rUpakone to sukhAnta (ja) banAvavA evuM paNa nATyazAstranuM kahevuM che. Ane kAraNe saMskRta nATyasAhityanI keTalIka prasiddha kRtione tapAsIe to tarata ja e mAlUma paDe che ke ahIM je aMtarAyo rajU karavAmAM Ave che te moTe bhAge jayeSThA nAyikA (pahelIvAranI paraNelI rANI) taraphathI UbhA thatAM hoya che. kyAreka mAlavikAne kedakhAne pUravAmAM Ave to paNa vidUSaka kauIka banAvaTa karIne rANInI mudrA kaDhAvIne, tene kedamAMthI mukta karAvI lAve che. urvazI kumAravanamAM velI banI gaI hoya toya rAjA purUravAne, rastAmAM ja saMgamanIya-maNi maLI jatAM, pharIthI urvazInI prApti thaI jAya che. ahIM joI zakAya che ke urvazInuM velImAM pheravAI javuM- te kavikalpita eka nAno aMtarAya ja hato, ke jethI cothA aMkamAM vipralaMbha zRMgArane uddIpita thavAno avakAza maLI rahe che. AvA aMtarAyothI urvazIno kAyamI vinAza karIne ane premanuM akALe karuNa avasAna lAvavAno kyAreya Azaya hoto ja nathI. bIjuM, saMskRta nATyakRtiomAM jovA maLatA AvA aMtarAyo (=niyatAptinA prasaMgo) dvArA kavio rasAntarane siddha karavAnI sAtho sAtha kathAvastumAM rahelA (ke AvelAM) visaMvAdI tattvone dUra kare che athavA ogALI kADhe che; ane aMte saMvAdanI bhUmikA UbhI karIne kRtine sukhAnta tarapha ja laI jAya che. dA.ta. vikramorvazIya nATakamAM ekAda nahIM, paNa traNa traNa aMtarAyo kavi dvArA vicArAyA che. jemake, rAjA purUravA apsarA urvazI tarapha premAkarSaNa anubhave te pachI sauthI pahelAM kAzIrAjaputrI auzInarI taraphathI UbhA thatA antarAyo, e pachI urvazInI potAnI srIsahaja IrSyAvRtti (ke jene kAraNe te velI banI gaI) ane chelle urvazI apsarA hovAne kAraNe te indrane parAdhIna che- AnAthI kRtino kendravartI zRMgA22sa vArevAre AzaMkAmAM mUkAya che ane vividha upAyothI teno mArga mokaLo thato rahe che. chelle e sarva aMtarAyo zamI jatAM nAyaka-nAyikA bannenuM putranI sAthe milana thatAM kRti sarvathA sukhAntamAM pariName che. Ama kathAgUMthaNImAM vicAravAmAM AvelI 'niyatAmi' (=saMyata thayelI iSTanI prApti)nI saMkalpanA sAva najIvI hovA chatAMya rasaparipoSakanI mahattvanI bhUmikA paNa bhajave che ane saMskRta nATyakRtine sukhAnta tarapha (ja) laI javAnI yukti paNa banI rahe che ! upasaMhAra : paurastya nATyavibhAvanAno vicAra karatAM je keTalAka muddAo upasI Ave che temAM- 1. A nATyakRtionuM rasalakSI hovuM, 2. iSTanI hAni karanArA hoya tevA tIvra saMgharSono abhAva, 2. enA badale haLavA aMtarAyo ane tenA thakI rasAntaranI siddhi karavI tathA 4. e ja aMtarAyo vaDe visaMvAdI tattvone parivartita karIne kRtine sukhAntamAM pariNata karavI- ene ja saMskRta nATyakavioe parama dhyeya banAvyuM che. 104 sAmIpya : pu. 25, aMka 3-4, okTo. 2008 For Private and Personal Use Only - mArca, 2009

Page #108
sarvArIni sarvanAmAni / 1-1-27 sUtrano parAmarza* Acharya Shri Kailassagarsuri Gyanmandir prA. vijayAnanda paTela [1] 'pANini vyAkaraNa' ema bolatAM ja sAmAnya rIte tenI bIjI koI vizeSatA tarata ja dhyAnamAM Ave ke na Ave, paraMtu 'lAghava siddhi' e vizeSaNanA tarata ja dhyAnArha bane che. uparAMta te samayamAM lAghavayukta zailI mATe pANini atiprasiddhi pAmyA che. zrI nAgeza bhaTTe to 'arthamAtrA tApavena putrotsava manyante taiyALA : / ' evI paribhASA paNa potAnA graMthamAM uddhRta karI che. sUtrakAra potAnA graMthane upakAraka evI keTalIka saMjJAo Ape che. dA.ta. savarNa, guNa, vRddhi Ti, ma... vagere AvI ja eka sarvanAma saMjJA teo aSTAdhyAyInAM prathama adhyAyamAM Ape che. saMjJA karanAruM sUtra che : sarvAvIni sarvanAmAni || 1.1.27 prastuta lekhamAM A sUtrano vistArathI vicAra karavAmAM Avyo che. [2] pANini potAnA graMthamAM saMjJAo karavAmAM ekarUpatA rAkhatA nathI. sAmAnya rIte lAghava mATe saMjJAo racavAmAM AvatI hovAthI saMjJA dvArA kahevAtA saMzio saMjJA karatA vadhu varNovALA hoya che. jema ke, 'tutyAya prayatnaM savarNam / 6.1.1.3 e sUtramAM ''savarNa'' saMjJAthI bodhita saMkSio saMjJAmAM vaparAyelAM varSo karatA pramANamAM vadhu che. 'tulyAsya prayatam ' e pada saMziono bodha karAve che tathA 'areka muLa: 1.1.2.4 mAM 'zuLa' saMjJAthI bodhita saMkSio gata, 6 ane ' o ' ema traNa varNo che. Ama, saMjJA e lAghava mATe ja hoya che. paraMtu kyAreka sUtrakAra evI saMjJA paNa kare che je saMzio karatA moTI-vadhu varNovALI hoya che. jema ke prastuta lekhanA viSayanI ja 'sarvanAma ' saMjJA che. je 'sarvAini" evA saMzio karatA pramANamAM vadhu varSovALI che. ahIM pANini 'Ti, yu, meM ' jevI nAnI kRtrima saMjJA ApI zakyA hota (paraMtu nathI ApI). AvI moTI saMjJA karavAnuM phaLa darzAvatA bhASyakAra jaNAve che ke A anvarya saMjJA che tethI sarvAti gaNamAM je zabdo sAkSAt uccAryA hoya temanI ja mAtra 'sarvanAma' saMjJA thAya che. (anya zabdonI nahIM) tethI nAmavAcaka sarva zabdanI sarvanAma saMjJA nahIM thAya. (dA.ta.sarvamana (=bharata) zakuntalAnA putrane TUMkamAM ke uttarapadano lopa karIne sarva kahetA tenI sarvanAma saMjJA nahIM thAya) tethI tenuM caturthI vibhakti ekavacananuM rUpa 'sarvasma' na thatA sarjAya thaze. For Private and Personal Use Only [3] : sUtrArtha sarvAdri gaNamAM paThita (35) zabdonI sarvanAma saMjJA thAya che. ahIM ( cenavidhistavantasya / sUtrathI) tadantavidhi thAya che. tenuM jJApana e che ke 'nheM haiM / 1.1.31 sUtrathI dvandva samAsa sarvanAma saMjJAno niSedha karavA mATe Ave che. dvandva samAsa aneka padono bane che. temAM sarvanAmavAcaka zabda aMtamAM AvavAthI jAte ja te sarvanAma vAcya zabdanI gauNatA sUcita thAya che ane sarvanAma saMjJAno niSedha thAya che. (dA.ta. 'varNAzrametarALAmAM * gujarAta rAjya ane kaoNleja saMskRta adhyApaka maMDaLanA tharA mukAme yojAyela 21 mA adhivezana (tA. 26, 27, 28 jAnyuArI, 1996)mAM rajU karelo lekha. + bhavansa kaoNleja, DAkora. sarjavIni sarvanAmAni / 1-1-27 sUtrano parAmarza 105

Page #109
'tara' zabda sarvanAmavAcaka hovAthI 'Jami sarvanAna: sut / ' 7-1-52 thI 'sup' Agama thavA Ave che. paraMtu 'ndra = ' / sUtra teno niSedha kare che. have A niSedha (kyAre lAge ?) tyAre lAge ke jayAre sarvanAma saMjJA thatI hoya to (ja), AthI tadantavidhi thavAne lIdhe 'paramaMsarva'mAM saptamI arthavAcaka vrat . pratyaya (sakSamyAnnat| 6-rUz0) thatAM paramasarvatra ' ane 'paramamavAn' mAM (avyaya sarvanAmAnAm aprAe: 1-3-76 ) thI at Agama thAya che. Acharya Shri Kailassagarsuri Gyanmandir [4] 'sarvArIni ' zabdamAM bahuvrIhi samAsa che. sarva: Avi: yeSAM tAni sarjavIni / arthAt sarva zabda che AdimAM je (zabdasamUha)nI te 'sarvAauni'. have jo 'sarvAni' e zabda bahuvrIhi samAsa hovAthI te samAsa karanArA anemanyapavArthe / 2-2-24 sUtra dvArA upasthita (bahuvrIhi samAsanA ghaTakarUpa = avayava) padothI anya padArthano bodha karAvanAra samAsane bahuvrIhi samAsa kahevAya che. Ama, sarjIni e samAsamAM vaparAyelAM sarva ane Avi zabdo karatA anya padArtha (no bodha karAve che) eTale ke sarvAdri gaNamAM AvelA vizva, sama vagere zabdonI sarvanAma saMjJA thAya che. sarva zabdanI nahIM, Ama ahIM AvI aniSTApatti thavA Ave che. tenA nivAraNa rUpe zrI nAgeza bhaTTa paribhASA rajU kare che : vahuvrIhItanuLavijJAnapi /778 arthAt bahuvrIhi samAsamAM vizeSaNa rUpe thayelA avayava=padArtha (tadguNa)nuM paNa saMvijJAna thaI zake che. AthI have sarva zabdanI paNa sarvanAma saMjJA thaze. paribhASAmAM vaparAyelA 'pi'thI atadguNa saMvijJAna bahuvrIhino paNa bodha thAya che. bahuvrIhi samAsanA ghaTakarUpa - avayava = guNarUpa pado jyAM vizeSya arthAt anya padArthamAM anvita hoya tyAre tadguNa saMvijJAna bahuvrIhi samAsa bane che. jyAM vizeSyarUpa anya padArtha ane samAsanA avayava evAM pado vacce samavAya ke saMyoga saMbaMdha hoya che.10 jyAM A prakArano saMbaMdha na hoya tyAM AnAthI viparIta eTale ke atad saMvijJAna bahuvrIhi samAsa thAya che. mahAbhASyamAM A sUtranA bhASya upara A paribhASA spaSTarUpe uccArelI che.' ane kahyuM che ke ahIM (A sUtramAM) tadguNa saMvijJAna bahuvrIhi samAsa mAnavAthI koI doSa Avato nathI ane tenA udAharaNo Ape che. jema ke citravAsasamAnaya / arthAt raMgIna vastrovALA(puruSa) ne lAvo, tathA lohitoLISA RtvijJa: pravatti / arthAt lAla pAghaDIvALA Rtvijo phare che. ahIM tadguNavALAone lAvavAmAM Ave che.12 ane tadguNavALA phare che. 11 [5] anya udAharaNo H tadguNa saMvijJAna bahuvrIhi samAsanuM udAharaNa paribhASenduzekharamAM 'tanvarjha:' : Ape che. lamnI jo yasya sa: arthAt lAMbA che karNa jenA te (gardabha)ne lAvo. (tasvarNam Anaya) ema kahetA samAsamAM vaparAyelAM pado (-guNarUpa avayava)no anvaya anya padArtha evA (gardabharUpa) vizeSyamAM karavAmAM Ave che. 'ttavRn' ema bolatA A samAsathI bodhita vizeSya evA anya padArtha arthAt gardabha sAthe lAMbA karNa paNa Anayana kriyAmAM anvita thAya che ja. te ja pramANe 'pItAmbaram Anaya' / mAM paNa ta.saM.ba.vrI. samAsa che. 106 tadguNa saM.ba.vrI.nuM zAstrIya udAharaNa 'sarvAvIni sarvanAmAni / e sUtramAM va5rAyelo sarjInizabda che, jemAM sarva zabda Adi je te (zabdasamUha=) sarvAauni temAM sarva zabdanI paNa gaNanA thaze. atadguNa saMvijJAna bahuvrIhi samAsanuM laukika udA. nAgeza bhaTTa citrazu Ape che. arthAt citranuM puruSam mArca, 2009 sAmIpya : pu. 25, aMka 3-4, okTo. 2008 For Private and Personal Use Only -

Page #110
Shri Mahavir Jain Aradhana Kendra Anaya / citraLu eTale citravarNa dharAvatI gAyono mAlika. ahIM Anayana kriyAthI gAyanA mAlikane lAvavAmAM Ave che. citravarNavALI gAyone nahIM. AthI ahIM anya padArthamAM samAsanA ghaTakarUpa zabdano anvaya thato nathI. tethI ataguNa saMvijJAna bahuvrIhi samAsa bane che. anya udA. che. dRSTAzI yena sa tRSTavAzi: / dRSTAzim Anaya / jeNe kAzI joyelI che tevA (puruSa)ne lAvo. kahetA kAzIne lAvavAmAM AvatI nathI. ata saM.ba.vrI. samAsanuM udA. nakSatyAyaH SaT| 6-%0-6 sUtramAM vaparAyelA nazcityAya: pada che. arthAt kSati: Javi: yeSAm ti / gakSa dhAtu che, AdimAM jenI te (zabdasamUha) nakSa dhAtu che. AdimAM je 19 dhAtuonI tenI abhyasta saMjJA thAya che. dhAtupAThamAM avi gaNanA (64 naMbaranA) dhAtu / nakSa vagere cha dhAtuo levA paNa gaN no samAveza karavAno nathI. kAraNa ke ahIM atad.gu.saM.ba.vrI.sa. mAnavAno cho. anyathA nakSa nI gaNanA karIe to 'nakSa, nATTa, ridrA, zAsa, vAs, DoSIph eTalA ja (cha) dhAtuo Ave ane vevIk dhAtuno samAveza na thAya. jeno samAveza karavo iSTa che. AthI atarguNa ja mAnavo paDe eTale nakSa sivAyanA cha dhAtuo jo ta.gu. sa.ba.trI. mAnIe to vevIk bAkI rahI jAya ane jo ene paNa gaNIe to sUtranuM SaT pada vyartha paDe. jo SaT pada na lakhyuM hoya to nakSa sivAyanA badhA ahi gaNanA badhA dhAtuo AvI jAya. Ama, SaTpada lakhavAthI vevIk sudhInA cha ja dhAtuo ane atadguNa mAnavAthI kSa no samAveza karavo nahi. AthI vRttikAre paNa 'nakSa sAtamo dhAtu paNa' ema sAtamo zabda umeryo che. 1. 2. 3. 5. www.kobatirth.org Ama, sarvavanimAM tadguNa mAnavAthI sarvanI paNa saMjJA thaze. sarvanAma eTale sarvanuM nAma. dA.ta. rameza: svAti / sa: pitipi / ahIM sa: e rameza mATe vaparAyuM che. te ApaNe bIjA koI mATe paNa vAparI zakIe chIe. sa: puruSa:, sa: parvata: vagere. 6. 7. Acharya Shri Kailassagarsuri Gyanmandir 8. pAdaTIpa DaoN. bhagavatIprasAda paMDyA, (saMpA.) paribhASendu zekhara, yuni. graMthanirmANa baoNrDa, pR. 321 gopAladatta pAMDeya (saMpA.), vaiyAkaraNa siddhAnta kaumudI, caukhaMbA prakAzana, kAzI, pR. 235 ejana, pR.27 4. ejana, pR. 45 ejana, pR. 236 nI pAdaTIpa, 'mahanIyaM saMjJA yite / tatra mahatyAH saMjJAyAH karaNe etat prayojanam anvartha saMjJA yathA vijJAyate / sarvAdIni sarvanAma saMjJAni bhavanti / sarveSAM nAmAnIti cAta: sarvanAmAni / sarva, vizva ubha ubhaya itara uttama anya anyatara itara tvat tva nema sama sima, pUrva, para, avara dakSiNa uttara apara aghara svama jJAtidhana vAhi: tyad tav yan tav vam, as , di, yughnat, ar bhavatu pi ti / ejana (pR. 235) sarvAdIni zabdarUpANi sarvanAma saMjJAni syuH / tadanta syApIyaM saMjJA / dvandve ca / 1.1.31 iti jJApakIt / tena parama sarvatra iti traN paramamavAnuM tyatrAttva sidhdhati / ejana, pR. 235, sUtravRtti. bhagavatIprasAda paMDyA, uparyukta, pR. 241 9. tevAM muLAnAmavayava pArthAnAM saMvijJAna vizeyyAvayitvamiti tarthaH / ejana, pR. 242, paMkti prathama. 10. yaMtra samavAya sambandhayanyapavArthastatra prAyasta_La saMvijJAnam / ejana, pR. 242 paMkti bIjI. 11. naiSa doSaH bhavati hi bahuvrIhau tadguNa saMvijJAnamapi tadyathA 'citravAsasamAnaya', 'lohitoSNISA RtvijaH pracaranti / 12. tALunA AnIyate taLuLAza pavanti / 13. paddhAtvo'nya nakSitijja sakSama te'vyastataMA yuH / gopAladatta pAMDeya, uparyukta, sUtra 428 nI vRtti. sarvAvIni nAmAni / 1-1-27 sUtrano parAmarza For Private and Personal Use Only 107

Page #111
bRhadAraNyaka upaniSaddhAM AtmAnuM sthAna prA. zraddhA raghuvaMzI* zabdakalpadruma anusAra AtmA zabdanuM pravacana nIcalI kakSA che. AtmA (Atmanu) pu. 'mati santatamavenA nAprahasavAvasvAsu anuvartate'' uNAdi koSanA anusAra, at sAtatyAmane mAmA (sAtipyAM maninmAmo:) AtmAnI A ja niSpatti che, maharSi dayAnaMdanA mata mujaba tita niraMtara manana prati va sa mAtmA eTale ke "hamezAM karmaphaLane je prApta kare che, athavA bhogave che te AtmA che. thoDatata vyoti sa mAtma" eTale ke je loko jIvAdimAM hamezAM vyApaka thaI jAya che, te AtmA che. maMdiranI koSanA mata mujaba AtmA puMsi svabhAve'pi prayatnamanasorapi / ghRtAvapari manISAyAM zarIra brahmaNorapi // ' "ghutrajJaH AtmA, puruSaH brahma / paravyAvatanamiti ghkhii| patra iti shbdrtnvlii| jIvaH arka hatAzanaH vAyuriti hemacandraH / AtmAnA paryAyavAcI zabda : saMhitAomAM "brahma' zabda AtmAnA barAbara mAnavAmAM Avyo che. puruSa, haMsa, suparNa, amabhoga, prANa, jIva, satya, vizvakrama, bRhaspati, prajApati ane hiraNyagarbha A badhAM AtmAonA arthane abhivyakta karavAvALA zabdo che. paraMtu upaniSadranA pramukha rUpathI brahma, puruSa, haMsa ane kyAreka kyAreka saMpUrNa, jIva, prANa ane satya zabdono prayoga paNa AtmAne mATe thayo che. advaita vedAMtamAM jIvAtmA "adhU" zabdano viSaya che. "ammad viSayano avatAra che."10 evI rIte vivekacUDAmaNi anusAra AtmA 'ehamA padanI pratItine lakSita hoya che. "da pra8pratyapakSitArtha: pratyayasAnandradhana: paraHIbhA''11 brahmasutra zAMkarabhASya para lakhelI che. ratnaprabhA TIkAnA anusAra ahaMkAranuM bhAna ja AtmA che. samiti ahaMkSAviSaya mAna puNya mAtmA' '12 A nitya ane AnaMdaghana, akhaMDa advitIya caitanyasvarU5. zruddhino sAkSI ane sat ane asatathI bhinna che. upaniSadomAM AtmAnuM svarUpa : zvetAzvattara upaniSad anusAra A AtmAne ja zarIranI upAdhithI yukta thavAthI dehI athavA jIvAtmA kahyo che. anIzazcAtmA nA nIvatu" eTale ke A haMsa dehAbhimAnI thaI nava dvAra (be AMkha, be kAna, be nAsAra%, eka mukha, gudA ane mUtrandriya)* vALA deharUpa puramAM bAhya viSayone grahaNa karavA mATe ceSTA kare che. ahIM AtmA ja dehopAdhigrasta thAya to jIva saMjJAthI jANI zakAya che." A AtmA ja jIva che. te sRSTinA AraMbhathI ja prANa dhAraNa kare che. ahIM saMsAranA anAditvanA vyaMjaka thavAne kAraNe AtmA ja jIva nAmathI saMbodhita thAya che.' eTale ke mAyAdhIna jIva A saMsAranA bhogothI lipta rahevAne kAraNe baMdhanamAM AvI jAya che. AtmA * tattvajJAna vibhAga, ha.kA. ArTsa kaoNleja, Azrama roDa, amadAvAda-380009 108 sAmIpya : pu. 25, aMka 3-4, okTo. 2008 - mArca, 2009 For Private and Personal Use Only

Page #112
ja bhogone bhogavAne kAraNe gabharAtA eTale ke potAnA pAramArthika svarUpane bhUlAvI anizvaratAne prApta kare che. kaThopaniSamAM AtmAnI mImAMsA vadhAre ramaNIyatAthI thaI che. naciketA yamAcAryanA pAse AtmAne mANavAne hetu gayo hato. naciketAnA javAbamAM yamAcArye kahyuM. AtmA nitya vastu che. nA kyAreya mare che ane nA kyAreya avasvAdikRta doSone prApta kare che. te viSaya grahaNa karavAvALA amArI samajI indriyothI saMkalpavikalpAtmaka manathI, vivecanAtmaka buddhithI tathA amArI sattAne kAraNabhUta prANothI pRthaka che. aneka ramaNIya rUpaka dvArA A tattvanuM varNana thAya che. A zarIra ratha che, buddhi sArathi che, mana pragaha (lagAma) che, indriyo ghoDA che je viSayarUpI mArga para cAlyA kare che ane AtmA rathasvAmI che.18 AtmAne racI batAvIne yame AtmAnI sarvazreSThatA pratipAdaka karI che. rathasvAmInA kAryane mATe ja zarIra vagere viSayono vyApAra hoya che. bAhya viSayono prAraMbha karIne zreSThatA kramanI vicAra karIne AtmA ja zreSTha manAya che.19 tarkabhASAkAra kezavamizranA mata mujaba AtmAtvajAti jemAM rahe che te AtmA che, te deha indriya AdithI bhinna che. pratyeka zarIramAM pRthaka-pRthaka che, vibhu tathA nitya che. A azabda, asparza, arUpa, avayava rasahIna, nitya, nigaMdha, anAdi, anaMta, mahattvathI para ane dhruva che. A avinAzI AtmA tattvamAMthI prANa, AzA, smRti, AkAza, vAyu, teja, pANI, avibhAva, tirobhAva, anna, baLa, vijJAna, dhyAna, citra, saMkalpa, mana, vANI, nAma, maMtra, karma vagere hoya che. praznopaSinA matAnusAra jIvAtmAno saMbaMdha zarIrathI che. ahIM karmono kartA, rAga-dveSathI yukta rahevAvALo tathA punarjanmane prApta thAya che. Ane ja daSTA, sAMbhaLanAra, zrotA, dhyAtA, raciyatA, maMtrA, bauddhA, kartA ane vijJAnAtmA kahevAya che.20 bRhadAraNyakopaniSamAM AtmAnuM svarUpa AtmasattAnI anivAryatA : mAnava zarIra pRthvI, jaLa, vAyu agni ane AkAzanuM samanvita rUpa che. kevaLamAtra zarIra rUpamAM A niSkriya che. jyAM sudhI paramAtmatattvarUpI citta tattva AmAM praviSTa thatuM nathI tyAM sudhI A paMcamahAbhUtothI vinirmita zarIranuM koI mahattva nathI. enuM spaSTa pariNAma e che ke jyAre manuSyane mRtyu prApta thAya che te samaye zarIra pUrNa hovA chatAM vyartha che. te AtmarakSAmAM paNa samartha nathI. ahIMyA nAzane prApta thaI jAya che. A sthULa jagatamAM A jIvAtmA ja sarva mahattvapUrNa che.. bRhadAraNyakopaniSamAM kahyuM che ke AtmAnA abhAvamAM zarIranuM koI mahattva hotuM nathI. tene kUtarAM khAI jAya che athavA pakSI cAMca mArIne khAI jAya che.22 AgaLa kahe che ''AtmA parichinna hoya chatAM paNa tenI cetanAno prakAza samagra zarIramAM nakhathI mAthA sudhI phelAyelo hoya che. tenI cetanAthI samagra indriyo pota-potAnI rIte vyApAra kare che. AMkha, vANI ane mana vagere badhAMmAM te jIvanI zakti kAma kare che ane e ja zaktithI te indriyo potAnuM kAma calAve che. evI hAlatamAM upaniSadnuM kahevuM che ke jo e jIvane mana, cakSu Adi nAmathI bolAvazo to te prakAra ekAMkI haze. eTalA mATe eka indriyamAM nAmathI jIvane bolAvavAthI samagra jIvatva jJAnanA hovAthI te jJAna adhUruM ja raheze. eTalA mATe tene mana, cakSu vagerene jo 'AtmA' kahIzuM to e zabdamAM tenA samagra guNo ane zaktiono samAveza thaI jAya che. eTalA mATe ja A nAma tenA prayogamAM lAvavA yogya che.23 bRhadAraNyaka upaniSamAM AtmAnuM sthAna For Private and Personal Use Only 109

Page #113
rudra AtmA : vidagdhanA praznano javAba ApatAM yAjJavalkaye kahyuM, "rudra ekAdaza che, dasa prANa ane AtmA jayAre A zarIramAMthI nIkaLe che tyAre potAnA saMbaMdhIone raDAve che."24 AgaLanA bhAgano prazna (jayAre puruSa mare che tyAre prANa nIkaLe che ke nahIM) no javAba ApatAM yAjJavalkaya kahe che ke, "prANa AtmAmAM lIna thaI jAya che, ane zarIra phUlI jAya che. marI jAya che ane marIne jANe sUI jAya che."25 AtmAnI karma svataMtratA : jagatanI naitika suvyavasthAnuM mULa kAraNa karmano siddhAMta che. je koI kArya ApaNe ApaNA prayatnathI karIe chIe tenuM phaLa hamezAM maLe che. teno kyAreya nAza thato nathI ane je phaLano ApaNe te samaye bhoga karI rahyA chIe te pUrva janmanA karelA karmanuM che, pariNAma che te kAraNa vinA abhuta thavAno che nahI, karma siddhAMtanuM e tAtparya che ke A vizvamAM potAnI IcchAne koI sthAna nathI. karmanA siddhAMtano aMgIkAra karavAthI manuSyanI AMtarika zaktiono vikAsa karavA mATe paryApta avasara maLe che. * jIvAtmA jevuM karma kare ane jevuM AcaraNa kare che te tenA jevo ja banI jAya che. sAruM kArya karavAvALA zubha ane pApa karavAvALA pApI banI jAya che. puNya karma karavAthI puNyavAna ane pApakarma karavAthI pApI banI javAya che. potAnAM karmo tathA jJAnanA anusAra zarIra dhAraNanA nimitte vibhinna yonio ane sthAvara bhAva prApta thAya che. 27 sarvaguNasaMpana AtmA : A ja AtmA vijJAnamaya, manomaya, prANamaya, kAmamaya, krodhamaya, zvakrodhamaya, cakSumaya, jaLamaya, vAyumaya, AkAzamaya, tejamaya, atejamaya, dharmamaya, adharmamaya, sarvamaya, idamya ane adamya che. A kAmamaya hovAthI kevI kAmanA ane saMkalpa kare che tevI rIte kAma karma kare che. potAnA karmAnusAra phaLono bhoga kare che. jemAM temanI A zakti hoya che to karmane mATe jJAtibhASa thaI kArya pravRtta thAya che. 28 AptakAma AtmA : evo paNa jIva hoya che ke je kAmanAothI hamezAM dUra rahe che. je kAmanAothI hamezAM dUra rahe che tene akAma, niSkAma ane AkhakAma kahe che. temanA prANonuM utkramaNa nathI hotuM te ja brahmatvane prApta karI zake che.29 paraMtu A avasthA tyAre ja Ave che jyAre emanA rahita prApta karI tikSAcArya tathA svAdhyAya, yajJa, dAna tathA viniSTa thavA mATe jIvAtmA brahmanI prApti A zarIramAM rahIne karI le che. tenA mATe kahe che ke jevI rIte sApanI kAMcaLI zarIranI upara mRta ane sApa dvArA vyakta paDI rahe che tevI rIte jIvAtmA zarIrathI chUTIne amRtatvane prApta karI le che." AtmAnuM kartutva : avinAzI tathA anuccheda dharmo AtmAnA dvArA ja sUrya, caMdra, agni, anAdine vAgAdine niSpata thaI jAya to puruSa kAryapravRtta hoya che. jIvAtmAnuM jJAna jene thaI jAya che tene vizvakRta eTale kRtakRtya samajI jAya che. A ja badhAMnA kartA tenuM loka tathA te svayaM loka ja che. bhUta bhaviSyanA svAmI A AtmAnuM jJAna thaI javAthI vyakti svakIya rakSA hetu pravRtta thato nathI." AtmAnuM priyatva : Atma priya ane apriyathI prabhAvita hoya che. AtmAne mATe badhI vastuo priya hoya che. patnIne mATe 110 sAmIpya : pu. 25, aMka 3-4, okTo. 2008 - mArca, 2009 For Private and Personal Use Only

Page #114
jevI rIte pati priya hoya che tathA jevI rIte patinA prayojano mATe strI priya hoya che. evI rIte AtmAnA prayojana mATe AtmA priya hoya che. eTalA mATe pratyeka vastumAM AtmAne jovA prAvadhAna che. bhinnatA jovAvALA hAni prApta kare che. brAhmaNa, kSatriya tathA vaizya jAtio tene samApta karI che je temane AtmAthI bhinna dekhAya che.37 tenA mULamAM dhAraNA badale pratita thAya che ke jIvAtmAo tenA parama sarvocca AtmAnI vibhUtio che jene pRthaka samajI zakatA nathI. AtmA puruSanA rUpamAM : AtmA paramAtmAnI dvitIya sattAnI jema puruSanA be rUpamAM jovA maLe che. eka parama puruSanA rUpamAM puruSa che ane bIjo zArIrika puruSanA rUpamAM. baMnemAM koI bheda nathI.39 zAkalyae puraSaviSayaka aneka prazna yAjJavakyane karyA hatA. puruSano punaHjanma thAya che, paraMtu maravA para tene koNa utpanna kare che. A praznanuM samAdhAna che. yAjJavakyanA Avo gUDha prazna sAMbhaLIne koI brAhmaNa javAba ApI zakyA nahI.40 evA praznomAM vRddhivRttionI aMdara vijJAnamaya jyoti svarUpa kahe che. A ja AtmA loka-paralokamAM saMcAra kare che. svakIya buddhivRttinA anusAra A ciMtana kare che. prANonI vRttionA kAraNe ceSTA kare che. svapna thaI A loka eTale mRtyuna rUponuM atikramaNa kare che. janma letAM ja puruSa dehendriya rUpa pApane prApta karI le che, paraMtu maratI vakhate zarIra rUpa pApone mukta karI le che. AtmAnI prazna avasthAo : AtmA jAgRti, svapna ane suSupti avasthAmAM sadAcaraNa kare che. uparyukta puruSanA be jJAna kramaza: aikika eTale pAralaukika che. svapna sthAna saMdhi sthaLa che. A svapnAvasthAmAM ja AtmA loka ane paraloka baMnene jue che. A AtmA svapnAvasthAmAM sthaLa dehane nizcaSTa karIne vAmanAmAMthI dehane racIne nidrAdhIna thaI jAya che. puruSa svayaM jayoti svarUpa hoya che. A avasthAmAM te saMracanA kare che. kadAca ratha, ghoDA tathA mArgana rahetA tethI ja te tenI racanA karI le che. AnaMda, moha, pramoda kazuM paNa nA hovA para vAsanAnusAra temanI sRSTi karavAmAM te samartha hoya che. svapna dvArA zarIrane niceSTa karI svayaM nidrAdhIna thaI jAya, teja avasthAmAM samagra padArthone prakAzita kare che. te punaHjAgRti avasthAmAM zuddha svarUpane laIne AvI jAya che. hiraNyamaya puruSa ekAMkI namana kare che." hiraNyamaya puruSa vAsanAnusAra gamana kare che. svapnAvasthAmAM vividha rUpone grahaNa karI. strIonI sAthe AnaMda tathA pramukti thAya to bhaya vagere anubhava paNa kare che. A avasthAmAM tene jagADavo joIe nahIM. te duSkitsaya hoya che. koI koI A paNa mAne che ke svapna zyAma tenA jAgrata dezanI atirikta kazuM che ja nahIM, kAraNa ke je kAMI jAgRtAvasthAmAM dekhAya che, te ja nidrAvasthAmAM dekhAya che. 47 AvA ja kramamAM suSuptinA bhogomAM AtmAne asaMga mAne che. suSupti AtmAnuM vizvAsasthaLa che. udAharaNanA rUpamAM kahyuM che ke jevI rIte zyana athavA suparNa badhI bAjuthI UDIne thAkI jAya tyAre pAMkho phelAvIne potAnA mALAnI bAju UDI jAya che. tethI puruSa be sthAnathI bAju doDe che. jyAM sUI javA para na to IcchA kare che ane na to svapna jue che. 49 mahAmasyanA udAharaNa dvArA ja jAgRti ane svapnanA avasthAntara kramane spaSTa karyo che. kahyuM che ke jevI rIte moTI mAchalI nadInA pUrva ane upara taLe para kramazaH saMcaraNa kare che. tyAra pachI A puruSa svapnAvasthA tathA jAgrata svapnomAM sadAcaraNa kare che. dehanA kuza thavA para ja A AtmapuruSa dehathI bRhadAraNyaka upaniSaddha AtmAnuM sthAna iii For Private and Personal Use Only

Page #115
chUTIne vibhinna yonione prApta kare che." bRhadAraNyakopaniSad para sUkSmadaSTi zuM jIva brahma hoI zake che? A upaniSamAM eka sthAna para jIvAtmAno prAraMbha karavAnI vAta kahetA kahevAnuM che ke jayAre teNe sahamami' kahyuM to te ahama nAmavALo thayo. ahIM A vAta samajavAnI che ke ammada zabda jemAMthI ahama banyo che jyAM sarvanAma (Pronoun) arthomAM Ave che. jayAM te AtmAne mATe saMjJA (noun) rUpamAM ja Ave che ane jyAre saMjJA arthamAM AtmAne mATe prayukta hoya che tyAre tenA jeTalA paNa rUpa haze te badhAMnA artha AtmAthI ja saMbaMdha haze. udAharaNArtha gItAno nimna zloka prastuta che. sarvadharmAna parityajya mAmekaM zaraNaM vraja / ahaM tvA sarvapApemyo mokSami tvAmi mAM sUcaH // 57 AmAM "nAmen'no artha "eka AtmA' ane 'mana no artha AtmA che. ahIM AtmA zabda paramAtmAvAcI che. ahIM kahI zakAya ke jIvAtmA ahama nAmavALo che. tenA pachI brahmanA prAraMbhamAM hovAnI vAta karI che ane tyAM kahyuM che ke temAM pote ja jANyuM che "huM brahmAMDamAM rahuM chuM' eTale ke "huM brahma chuM. ahIM spaSTa che ke jIvAtmAnuM nAma "aham' ane paramAtmAnuM nAma "brahma' che. tenA pachInI kaDImAM kahyuM che ke " "je devo, RSio ane manuSyamAM ja jAgI UThe che eTale jJAna prApta karI lIdhuM te paNa brahma thaI gayo.papa eTale ke te brahmamAM sthira thaI gayo te brahmane prApta karI lIdho. ahIM eTaluM kahevuM ucita che ke je jIva atyAra sudhI brahma nathI ane have brahmamAM guNone prApta karavA brahma thayA che, te jIvo ane brahmanA guNomAM samavAya (nitya) saMbaMdha nahIM, apitu saMyoga (anitya) saMbaMdha thayo che. eTalA mATe te jIva, anAdi, brahma nahIM, apitu Adi hoya che ane Adi hoya te zAMta paNa vAstavika brahma anAdi ane aMta che. ahIM jIvonA brahma thavAno abhiprAya kevaLa eTalo ke teNe brahmA AnaMda vagere guNono prANa karavA potAne brahma banAve che. te sarvAsamAM Adi brahma paNa hotA nathI. temanI aMdara karmaphaLa dAtA, sRSTikartutva Adi guNo to na AvyA ane Avaze paNa nathI. eTalA mATe Adi brahmano artha unnata athavA mukta jIva ja hoI zake che. tenAthI vadhAre kazuM ja nahIM. eTalA mATe jIvanuM brahma hovuM asaMbhava che. vaitAdvaitapada para vicAra karatA yAjJavalkalkaye maitreyIne kahyuM hatuM ke, "jayAre upAsaka daitanI bhAvanAvALA hoya che ane jyAM sudhI tenI aMdarathI ahaMkAranI bhAvanA dUra thaI jatI nathI tyAM sudhI ekabIjAne dekhatA, sAMbhaLatAM, suMghavuM ane cAkhavuM vagere che. jayAre upAsaka nirahaMkAra thaI jAya che." je avasthA mATe yAjJavalkayae kahyuM che. yatra vA kahyuM sarvAtmavAbhUta eTale ke jayAre nizcaya (brahmavid) nuM badhuM ja AtmA (paramAtmA) ja thaI gayuM che ane te brahmamAM lIna thaIne potAnI sUdhabUdha khoI cUkyo che tyAre koI koIne jue, sAMbhaLe, sUdhe ane cAkhe vagere bhAva e che ke prema ane bhaktinI atizayatAmAM upAsaka potAne bhUlIne hamezAM potAnA priyatamane joyA kare che tyAre tenA sivAya tenI dRSTimAM bIjuM koI avaziSTa rahetuM nathI. A prakAranA prakaraNamAM prema ane bhaktinA prAcuryane pragaTa kare che, temanA jIva ane brahmanI ekatAnA koI saMbaMdha hoto nathI. zuM jIva ane brahma eka che? A praznano javAba anusaMdheya upaniSamAM dRSTikoNamAM Apyo che. 112. sAmIpya : pu. 25, aMka 3-4, okTo. 2008 - mArca, 2009 For Private and Personal Use Only

Page #116
bAlAkIne javAba ApatA ajAta zatrue jaNAvyuM hatuM ke jIvAtmAne huM AtmAnI eTale ke paramAtmAnI khoja karavAvALo mAnuM chuM.17 madhuvidyAnA prakaraNamAM kahyuM che58 A AtmA (jIva) samagra bhUtono madhu che. A AtmA (jIva)mAM je tejasvI amara puruSa che. A be che je A sarvavyApI paramAtmA che. A prakaraNamAM jIvAtmAne vyApta ane paramAtmAne vyApaka kahyA che. jemAM baMneno bheda spaSTa che. A ja madhuvidyAnA prakaraNamAM jIvana mATe Rgvada eka maMtra (rUpa-rU5 pratirUpo R. 6//16)nA pramANamAM kahyuM che ke te je je yonimAM jAya che tene anurUpa thaI jAya che eTale ke manuSya zarIramAM aMdara jaIne tene anurUpa, hAthInA zarIramAM jaIne tene anurUpa ane kIDInA zarIramAM jaIne tenA anurUpa thaI jAya che. maMtramAM e paNa kahyuM che ke te jIva (indra)nA dasa ane sau ghoDA che. ghoDA indriyone kahe che te dasa hoya che ane so tenA viSayo mATe bahu arthomAM prayukta thAya che. maMtrano bhAva pragaTa karatAM upaniSadakAre lakhyuM che ke, 'maye vai daya:' eTale A jIvane (indra) ja ghoDA samajavA joIe ane A dasa ane sau eTale bahu che. ahIM jIvanI bahu saMkhyAmAM upaniSadakArene abhiSTa che. jevuM sAMkhyamAM "nava vRhatva" kahyuM che. A upaniSadamAM ahIM aneka sthaLa che jyAM jIva ane brahmamAM bheda spaSTa che. eka sthAna para jIvane temane IzvaramAM vyApakatvamAM IzvaranA zarIrane kahyuM che. pala jIvAtmA zarIramAM kyAM kyAM rahe che? kaThopaniSaddamAM guphA (hRdayAkAza) mATe eka jagyAe kahyuM che ke jIvAtmA ane paramAtmA chAyA ane prakAzanI mAphaka temAM rahe che. A vAtanI puSTi anusaMdhaya upaniSadamAM kahyuM che. ajAtazatrue bAlAkIne eka puruSa pAse laI jaIne batAvyuM hatuM ke jayAre manuSya nidrAdhIna hoya che tyAre jIva samagra indriyone viSaya grahaNa karIne zaktine potAnA adhikAramAM hRdayAkAzamAM rahyA kare che te samaye jIvanuM nAma ""svapriti60 hoya cheteno abhiprAya e nathI ke jIva kevaLa svapnAvasthAmAM ja hRdaya che. hRdayAkAzamAM rahe che, paraMtu tenA zarIramAM rahevAnuM sthira sthAna pratyeka avasthAmAM A che. A vAta sthAna para veda ane upaniSadamAM kahevAya jAya che. arthavavedamAM hadaya maMdirane ayodhyA kahetA tene brahmanI purI batAvyuM che. AtmAnuM zarIramAM sthira sthAna hovA chatAM paNa tenA mATe ajAtazatrune A paNa batAvyuM che ke te sUkSma zarIranI sAthe aspaSTa rIte samagra zarIranI nADIomAM bhramaNa karyA kare che. niSkarSa : jAgrata avasthAmAM to AMkha, nAka, kAna vagere bAhya indriyo dvArA manuSyane jJAnanI prApti thAya che. svapnAvasthAmAM manuSyanI bAhya indriyo niSkriya thaI jAya che. paraMtu tyAre mana dvArA manuSyano anubhava thAya che tathA jeno saMbaMdha bAhya indriyo dvArA paNa hoya che. kAraNa ke svapna pachI jAgaraNamAM manuSya te samayanA anubhavonuM maraNa kare che. tathA svapnAvasthAmAM paNa sukha-duHkhano anubhava kare che tathA manuSya raDavAnI ane hasavAnI kriyA kare che paraMtu suSupti avasthA tethI haMmezAM bhinna che. te samaye bAhya indriyo ane mana baMne paraMtu niSkriya hoya che. te samaye koI anubhava nathI thato tathA badhAM bhinnatvamAM paristhiti hoya che paraMtu enuM A nivArNa thatuM nathI. kAraNa ke tenA pachI pharIthI cetanA prApta thAya che tathA te cetanAmAM anubhava mATe jAgRta avasthAmAM te sukhano anubhava kare che, eTalA suSuptimAM sukha prApti Avazyaka che tathA te sukha vinA jIvatA hoya tevuM kone kahI zakAya che. ahIM suSupta avasthA mRtyuthI hamezAM bhinna che. teno niSkarSa e che ke manuSya eka ja anubhava kartA che tathA badhI cetanAvasthAno anubhava kare che. A avasthA ja parivartana hoya che. A AtmAnI badhI avasthAono bRhadAraNyaka upaniSaddamAM AtmAnuM sthAna 13 For Private and Personal Use Only

Page #117
anubhava kare che. A AtmA zarIrathI bhinna che tathA buddhinI traNa vRttiono A AtmA sAkSI che. evA prakAre A traNa vRttionA mAdhyamathI A spaSTa che ke jIvAtmA sthULa eTale sUkSma zarIrathI bhinna che. A jIvAtmA zarIrathI sarvathA bhinna che. je rIte agnimAM lAkaDAno vikAra dekhAya che evI rIte sAkSI AtmAmAM bhinnatA, janma, maraNa, kSaya, karma ane karmaphaLa vagere pratIta thAya che. NAGMA saMdarbhasUci zabdakalpadruma : kANDa - 1, pR. 172 aMbbhikAdatavyAsa 2. dhAtupATha : bhvAdigaNa uNAdikoSa 4|153 uNAdikoSa kI vyAkhyA 4|153 prathamasamullAsa-satyArthaprakAza bhedinikoSa pR. 90 kAzI saMskRta sIrIja 41, banArasa, 1916 amarakoSa - 272 paMkti nirNayasAgara presa, bombe, 1950 uparyukta - 1, pR. 172 8. The Concept of Principal Upanishad, Delhi, 1972 10. brahmasUtra zAMkarabhASya 1 / 1 / 1 11. zaMkarAcArya vivekacUDAmaNi zloka - 352 12. uparyukta 13. zvetA. upa. 128 14. kaTha. upa. 2 / 3 15. ejana, 2 / 4 16. prazna upa. 46 17. DaoN. vijaya zrI eka vivecanAtmaka adhyayana, pR. 63 18. bRha. upa. 3 / 64 18. ejana 3 / 2 / 11 20. baladeva upAdhyAya, bhAratIyadarzana, pR. 31, zAradA pablikezansa, banArasa, 1974 21. bRha. upa. 4 / 45 22. ejana, 4 / 4 / 5 23. ejana, 4 / 4 / 6 24. ejana, 4 / 4 / 22 25. ejana, 4|4|14 26. ejana, 4 / 36 27. ejana, 4 / 4 / 13 28. ejana, 4 / 4 / 15 28. ejana, 4 / 45 114 sAmIpya: 5.25, 5 3-4, moTo. 2008 - bhArtha. 2008 For Private and Personal Use Only

Page #118
30. ejana, 4 / 4 / 6 u1. upaniSadakAlIna samAja evaM saMskRti-155, parimala prakAzana, 1983 u2. uparyukta 2 / 6 / 10 33. ejana, 3 / 6 / 27 34. ejana, 4 / 3 / 7 u4. ejana, 4 / 38 36. ejana, 4 / 3 / 6 37. ejana, 4 / 3 / 10 38. ejana, 4 / 3 / 11-12 38. ejana, 4 / 3 / 12-13 40. ejana, 4 / 3 / 14 41. ejana, 4 / 3.15 42. ejana, 4 / 3 / 10 43. ejana, 4 / 41 44. gItA 18 / 66 vyAsa - sastu sAhitya, amadAvAda, 1913 45. ejana, 1 / 4 / 10 46. ejana, sh4|14 47. ejana, 2113 48. ejana, 2 / 5 / 14 48. ejana, 2 / 5 / 16 50. ejana, 37 / 22 51. uparyukta 3 / 7 / 22 52. uparyukta 2 / 1 / 17 53. atharvaveda 10 / 2 / 61-62 54. uparyukta 2 / 1 / 18-19 55. Do. satyadeva zarmA, upAsanA rahasya 56. ejana 57. ejana 58. ejana 58. ejana 60. ejana bRhadAraNyaka upaniSamAM AtmAnuM sthAna 115 For Private and Personal Use Only

Page #119
Anarta pradezanA vArasA samI prAcIna durlabha hastaprato DaoN. DI. eca. gosvAmI* bhArata sarakArazrInA rASTrIya hastaprata abhiyAna (National Mission For Manuscripts New Delhi) prerita ane amadAvAdanI ela. DI. insTiTyUTa oNpha inDolojI dvArA hAtha dharavAmAM Avela hastaprata sarvekSaNa abhiyAna 2006 daramiyAna samagra gujarAta rAjyamAM hastapratonA sarvekSaNa-sUcikaraNanuM kArya tA. 24-02-2006thI tA. 19-03-2006 daramiyAna AraMbhAyeluM. A mizana hamaNAM ja pUruM thayuM, joke hastapratonI noMdhaNInuM dhULa dhovAnuM' A kArya Ama to kaparuM ane mahenata mAgI le tevuM hatuM. samagra gujarAta rAjyamAMthI vividha sthaLoethI viziSTa prakAranI hastaprato prApta thaI hatI. sAthesAthe keTalIka rasaprada vigato ane rasaprada mAhitI paNa prApta thaI hatI. jema ke uttara gujarAtamAMthI durlabha evI 54,911 hastapratanI noMdhaNI thaI hatI. Acharya Shri Kailassagarsuri Gyanmandir samagra bhAratavarSamAM hastapratonI jALavaNInuM kAma uttarottara thatuM ja rahyuM che, masjido, maMdiro, maTha, Azramo, vidyApITho ane jaina jJAnabhaMDAromAM prAcIna samayathI hastaprato sacavAtI AvI che, bhAratavarSamAM AvAM hastaprata saMgrahAlayo sAtamI-AThamI sadImAM astitvamAM AvelAM hatAM, khAsa karIne takSazilA, nAlaMdA, vArANasI, pATaNa, khaMbhAta, valabhI vageremAM AvelAM saMgrahAlayomAM Aje lAkhonI saMkhyAmAM hastaprato saMgrahAyelI jovA maLe che. gujarAtamAM hastapratonA rakSaNa ane saMgraha mATe solaMkI rAjAoe bahumUlya yogadAna ApyuM che. siddharAja ane kumArapALa temaja mahAmAtya vastupALa vageree prAcIna hastalikhita jJAnabhaMDAro ke graMthabhaMDAro banAvyA hatA, ane temAM 'siddhahema' jevI keTalIya kRtione hastapratarUpe surakSita rAkhI hatI. solaMkI-kALamAM lakhAyelI keTalIya hastaprato Aje paNa pATaNanA jJAnabhaMDAromAM jovA maLe che. siddharAje mALavA upara AkramaNa karIne tyAMno jJAnabhaMDAra pATaNamAM lAvIne rAjyanA jJAnabhaMDAra sAthe joDI dIdho hato. vastupALe pATaNa, khaMbhAta ane bharUcamAM moTo kharca karIne traNa pustakAlayo ke jJAnabhaMDAronI racanA karI hatI.4 Ama, solaMkIkALamAM gujarAtamAM jainabhaMDAromAM hastapratonI jALavaNI ane tenI nakala karavAnI paraMparAthI aneka jainakRtionI hastaprato paNa sacavAI rahI che, jema ke 'tattvasaMgraha' ane 'hetubiMdu' jevI bauddhadharmanI mahattvanI hastaprato pATaNanA jJAnabhaMDAromAMthI prApta thaI che. solaMkI rAjA vizaLadeva paNa vidyApremI hatA. temanA jJAnabhaMDAromAMthI aneka saMskRta graMthonI hastaprato sacavAyelI hatI, pATaNanA jJAnabhaMDAramAMthI saM. 1304 (I. 1248) ane saM. 1396 (I. 1339) mAM tADapatra upara lakhAyelI 'naiSadhIyacaritra'nI be hastaprata prApta thaI hatI, kAmasUtranI hastaprata paNa A jJAnabhaMDAromAMthI prApta thaI hatI. 'rAmAyaNa'nI paNa eka hastaprata prApta thaI hatI, jenA AdhAre bonayuninA graMthAlayamAM rahelI rAmAyaNanI hastaprata taiyAra thayelI manAya che. gurjara nareza kumArapALa paNa vidyAvyAsaMgI hatA. temanA samayamAM hastapratonI jALavaNI ka2vA mATe 21 graMthAlaya sthapAyAM hatAM.7 kumArapALanA maMtrIe tADapatrIya hastaprato pATaNathI jesalamera mokalI dIdhI hatI. Aje paNa jesalameranA hastaprata saMgrahamAM pATaNathI mokalAvelI tADapatrIya hastaprato surakSita che. * adhyakSa, saMskRta vibhAga, myu. ArTsa eNnDa arbana baeNnka sAyansa kaoNlaeNja, mahesANA 116 sAmIpya : pu. 25, aMka 3-4, okTo. 2008 - For Private and Personal Use Only mArca, 2009

Page #120
Ama, muslimonA AkramaNa pUrva siddharAja, kumArapALa, vastupALa vageree karNAvatI, jesalamera, surata, khaMbhAta vagere sthaLoe jaina jJAnabhaMDAronI sthApanA karI hatI. AvAM graMthAlayo prAcIna samayamAM "sarasvatIbhaMDAra' ke "bhAratIbhaMDAra'nA nAme lokomAM pracalita hatAM. solaMkIkAlIna Anarta pradezanI rAjadhAnI pATaNa saMskRta vidyAnuM moTuM kendra hatuM. pATaNa zaheranI lokavAyakA mujaba siddharAje "siddhahema vyAkaraNanI eka lAkha paccIsa hajAra hastaprato taiyAra karAvI ane te graMthanI zobhAyAtrA kADhI hatI. te samaye pATaNamAM 15 thI adhika jJAnabhaMDAramAM hastaprato sacavAyelI hatI. pATaNanI hastapratonuM lekhana-kArya, khaMbhAta, pATaNa, karNAvatI, dhoLakA vagere sthaLoe thayuM hatuM. DaoN. buhalare 1883mAM A hastaprata saMgrahanI mulAkAta lIdhI hatI. prastuta abhyAsa lekhano uddeza to Anarta pradezanA ane khAsa karIne Anarta pradeza (mahesANA-pATaNabanAsakAMThA-sAbarakAMThA)nI prAcIna vArasA samAna hastapratonA saMgraha ane sarvekSaNa upara prakAza pADavAno che, ItihAsa-purANa graMthomAM paNa sArasvatamaMDaLanA nAmathI oLakhAtA Anarta pradezanI rAjadhAnI mAhitna paTana' (aNahilavADa pATaNa) sarasvatI nadInA kinAre vaseluM hatuM. sarasvatI nadInI AsapAsa Avelo A pradeza bhaugolika vata deza' tarIke oLakhAto. A pradezanI AsapAsa 750 gAma sArasvatamaMDaLa ke moDherakIya ardhAsTamamAM AvelAM hatAM, tenI sAthe gaMbhUtA (gAMbhu), vaddhi (vaDhiyAra), vArleya, dhANadhA, daMhADI, cAlIsI vagere thaDako pracalita hatAM, te pradeza eTale Ajano uttara gujarAtanA pATaNa ane mahesANA, banAsakAMThA ane sAbarakAMThA jillo. AmAMthI pATaNa ane mahesANA jillAmAMnI mAhitI A abhyAsa lekhamAM vistRtarUpe nirUpavAno prayAsa karavAmAM Avyo che. DaoN. buhalara (1874-75), DaoN. bhAMDArakara (1892) ane zrI maNibhAI na. trivedIe zarU kareluM A kArya gokaLagAyanI gatie thatuM hatuM. gujarAta yuni.mAMthI vibhAjita thaI uttara gujarAta yuni.nI sthApanA thaI, ane yuni.nA graMthAlayamAM DaoN. maNibhAI prajApati (dilhInI senTrala lAibrerImAMthI) graMthapAla tarIke joDAyA. pATaNa zaheranA aitihAsika vArasAne ujAgara karavA mATe to temanA prayAsamAM pATaNanA hastaprata-jJAnabhaMDAronI mulAkAta laI varSothI jIrNa-zIrNa avasthAmAM paDelI hastaprato temanA dhyAnamAM AvI to, bilakula vyavasthita svarUpe sacavAyelI keTalIka hastapratonA vizALa bhaMDAro paNa joyA. tenI mulAkAta lIdhI ane hastapratonuM saMzodhana kArya temaNe svecchAe zarU karyuM, pariNAma svarUpa 1998 sudhImAM pATaNa-mahesANA ane tenI AjubAjunA pradezomAMthI hastapratonI keTalIka mAhitI prApta thaI je nIce mujaba che. gAma-zahera saMsthA prApta thayelI hastaprata 1. pATaNa uttara gujarAta yuni. 25 2. pATaNa hemacaMdrAcArya jaina maMdira (hastapratabhaMDAra) 25,078 3. IDara jaina digaMbara bhaktibhaMDAra 7,OOO 4, mahesANA 1, sImaMdhara svAmI jaina maMdira 2. sudhArAnI peDhI 3. yazovijayajI pAThazALA 5. mAMDala moTo graMthabhaMDAra 2,000 Anarta pradezanA vArasA samI prAcIna durlabha hastaprato 117 For Private and Personal Use Only

Page #121
Shri Mahavir Jain Aradhana Kendra 6. pAlanapura 7. rAdhanapura www.kobatirth.org 1. jainono bhaMDAra 2. tapagacchono bhaMDAra 1. jaina pAThazALAno bhaMDAra 2. saMghano bhaMDAra 3. taMboLI zerIno bhaMDAra buddhisAgarasUrino jainabhaMDAra 118 Acharya Shri Kailassagarsuri Gyanmandir 8. vijApura hastapratonA sarvekSaNa ane saMzodhananI upara mujabanI sthiti 1998 sudhInI che.' bhArata sarakArazrInA sAMskRtika vibhAganA rASTrIya hastaprata abhiyAna (National Mission For Manuscripts New Delhi) anvaye ela.DI.insTiTyUTa opha inDolojI, amadAvAda dvArA samagra gujarAtamAM hastapratonI zodha ane sarvekSaNa-noMdhaNInuM saghana abhiyAna tA. 24-2-2006 thI tA. 19-3-2006 daramiyAna cAlyuM hatuM, gujarAtanA tamAma jillAomAM kanvInaronI nimaNUka karavAmAM AvI ane dareke-dareka jillAnA tAlukAomAM sarveyonI nimaNUka karavAmAM AvI. mahesANA jillAmAM kanvInara tarIke mArI nimaNUka karavAmAM AvI. mahesANA jillAmAM lagabhaga 21 sarveyaro ane be jillA kanvInara nimavAmAM AvyA ane hastaprata zodha abhiyAna zarU thayuM. pATaNanI beThakamAM mane vadhArAnI javAbadArI paNa soMpavAmAM AvI ke, ''tamAre u.gujarAtanA cAra jillAnAM maTho ane maMdiramAM hastaprata sarvekSaNa mATe kAma karavuM', pariNAme uttara gujarAtamAM hastapratonuM sarvekSaNa saMzodhana karavAno avakAza prApta thayo. tA. 17-2-2006nI mITiMgamAM 'amane hastaprata sarvekSaNa mATe mArgadarzana ApavA mATe rASTrIya hastaprata abhiyAna, nyU dilhI taraphathI su.zrI gItAMjali surendrana tathA DaoN. rANA upasthita rahyAM hatAM ane jarUrI sUcanAo vagere ApI hatI.17 10,000 500 300 10,000 Anarta pradezamAM hastaprata abhiyAna tA. 24-2-2006nA divasathI zarU thayuM. te kArya tA. 18-32006 sudhI cAlyuM. tA. 19-3-2006, ravivAranA divase gujarAta rAjyanA dareka jillA kanvInare potAnA jillAmAM karelI kAmagIrInI mAhitI ApI.4 dareka jillAmAM keTalI hastaprato noMdhAI tenI vistRta mAhitI A beThakamAMthI prApta thaI. prastuta lekhamAM uttara gujarAta (mahesANA, banAsakAMThA, pATaNa, sAbarakAMThA)nI hastaprata abhiyAnanI keTalIka rasaprada mAhitI ahIM prastuta karuM chuM. vyaktigata graMthabhaMDAramAMthI pUrvajopArjita karmakAMDa ane jyotiSanA graMthonI lagabhaga 500 jeTalI hastaprato maLI Avela maMtra-taMtra, karmakAMDa, veda-vedAMta, itihAsa purANa vagere hastapratonI sAthe 16mI sadImAM lakhAyelA keTalAMka islAmika maMtro devanAgarI lipimAM hastaprata svarUpe sacavoyalAM hatAM. temanA pUrvajonA milakatanA dastAvejo ke je urdU ane arabI bhASAmAM lakhAyelAM hatAM, je goLa-bhUMgaLAmAM traNa phUTa lAMbI-eka phUTa pahoLI hastaprato kAgaLa ane kApaDa upara lakhAyelI jovA maLI. A hastapratomAM eka hastaprata to mahaMmada begaDAnA samayanI milakatanA dastAveja rUpe sacavAyelI tyAMthI prApta thaI. Ama, lagabhaga 500 jeTalI judAM-judAM viSayavALI hastaprato siddhapuramAMthI maLI AvI hatI.5 te badhI ela.DI. insTiTyUTa oNpha inDolojIne soMpavAmAM AvI. mahesANAmAMthI vyaktigata mAlikInA graMthabhaMDAramAM sacavAyelI hastaprato jevI ke (1) kriyAmANa karmaprayoga (2) vAstu, lagna mULa nakSatravidhi vagere - peja 177 saMvata 1910 sAme 1776, (3) sudhanvA AkhyAna (saM. 1912), (4) bhaTTa premAnaMdakRta AkhyAna, (5) rAmAyaNa suMdarakAMDa, (6) mArkanDeya purANa, (7) rAmAyaNa yuddhakAMDa, (8) devImahAtmya, (9) kezarI jAtaka, (10) mallAI, kavaca, (11) zivAmbuvidhi kalA, (12) saMotattva mArca, 2009 sAmIpya : pu. 25, aMka 3-4, okTo. 2008 For Private and Personal Use Only

Page #122
sAke 1640. siddhapurIjI mahArAja likhita jagata ciMtAmaNi kavaca sAthe lagabhaga 30 jeTalI hastaprato prApta thaI. A badhI ja hastaprato devanAgarI lipimAM 16mI 17mI sadImAM lakhAyelI jaNAtI hatI, to keTalIka 18mI ke 19mI sadImAM lakhAyelI hatI. yazovijayajI pAThazALA ane sImaMdharasvAmI jainamaMdira temaja lIMca gAmanA jainamaMdiramAMthI paNa lagabhaga 500 thI vadhu hastaprato pUrve keTalogsamAM noMdhAyelI hatI, te maLI hatI. A hastaprato khUba ja nayanaramya hatI. samI tAlukAnA mujapura gAmanA vyaktigata mAlikInA graMthabhaMDAramAMthI lAkaDInI dAMDI upara lakhAyelI para jeTalI hastaprato prApta thaI, jenI pahoLAI eka phUTa ane laMbAI ATha phUTa hatI, temAM jainonA vakhAriyA kuTuMbano itihAsa AlekhAyelo che. 17 sAMtalapura tAlukAnA gotarakA gAmamAMthI paNa judI-judI 1800 jeTalI hastaprato maLI AvI. pATaNanA hemacaMdrAcArya jJAnamaMdiramAM to keTalIka hastaprato sonA ane cAMdInI zAhIthI lakhAyelI jaNAI hatI. sAbarakAMThAmAMthI DaoN. vinodabhAI purANI pAsethI 280 ane occhavAla purANInA bhaMDAramAMthI 374 jeTalI hastaprato prApta thaI hatI. 18 kendra sarakAranA sAMskRtika vibhAganA A mizananuM kAma rAjayamAM saMzodhana kSetre khyAtiprApta ela.DI.inDolojIe saMbhALyuM hatuM, ela.DI.inDolojInA mAnad prAdhyApaka DaoN. maNibhAI prajApatinA mArgadarzana heThaLa samagra gujarAta rAjayamAM hastapratonI zodha ane noMdhaNInuM kAma hAtha dharAyuM hatuM. temAM uttara gujarAtamAM (1) DaoN. maNibhAI prajApati yuni. graMthapAla pATaNa (2) pri. hemarAjabhAI paTela (AcArya, tharA kaoNleja) (3) DaoN. vinodabhAI purANI (nivRtta adhyApaka moDAsA kaoNleja) (4) DaoN. DAhyApurI gosvAmI (adhyakSa, saMskRta vibhAga mahesANA kaoNleja) (5) DaoN. IzvarabhAI ojhA (itihAsa vibhAga, ema.ena. kaoNleja, visanagara) vageree uttara gujarAtanA cAreya jillAmAM kanvInara tarIke javAbadArI saMbhALI hatI. uttara gujarAtamAM nimAyelA uparokta kanvInaranA mArgadarzana ane parAmarzana sAthe sarveyaroe A kAmagIrI bajAvI hatI jemAM (1) pAlanapura kaoNlejanA DaoN. RSikeza rAvaLa (2) rAdhanapura kolejanA DaoN. samIrabhAI prajApati (3) pIlavAInA DaoN. manubhAI prajApati (4) UMjhAnA DaoN. rAThavA sAheba (5) mahesANAnA mA. jayeza joSI (6) visanagaranA prA. manasukha savasANI (7) IDaranA DaoN. karuNA trivedI vageree hastaprata zodha, sarvekSaNa abhiyAna karyuM, jenA phaLasvarUpe uttara gujarAtamAMthI (1) mahesANA jillAmAMthI 6, 153 (2) pATaNa jillAmAMthI 39,918 (3) banAsakAMThA jillAmAMthI 449 ane (4) sAbarakAMThA jillAmAMthI 8,391 hastapratonI noMdhaNI thaI hatI. Ama, samagra Anarta pradezamAMthI zodha abhiyAna daramiyAna durlabha evI pa4,911 hastaprato prApta thaI hatI. A hastaprato maMtra-taMtra, karmakAMDa, jayotiSa, itihAsa-purANa, jainadarzananI TIkAgraMtho vagere saMbaMdhI hatI. A tamAma hastapratomAMthI moTAbhAganI hastaprato jaina jJAnabhaMDAromAMthI prApta thaI hatI, jyAre maTho, maMdira, akhADAo ane madresAo vageremAMthI bahu ja ochI hastaprato maLI AvI hatI. pAdaTIpa hastaprata zodha abhiyAnanI tA. 19-3-2006 nI ela.DI.inDolojInI mITiMgamAMthI prApta thayelI mAhitI. 2. bho. je. sAMDesarA, pATaNanA graMthabhaMDAro, kumAra, varSa 18, pR. 136-139 3. Refresher Course in Sanskrit - 1999, Rajkot, Saurashtra Uni, Dr. Hansa Hindoca's Lecture. Anarta pradezanA vArasA samI prAcIna durlabha hastaprato 119 For Private and Personal Use Only

Page #123
bho.je. sAMDesarA, itihAsa ane sAhitya, pR. 25 rasikalAla cho. parIkha ane hariprasAda gaM. zAstrI (saMpA.), gujarAtano rAjakIya ane sAMskRtika itihAsa khaMDa4, pR. 372, prathama saMskaraNa-I.sa. 1976 Indian Manuscripts and Manuscriptology, Publish. Reading Material Acadmic Staff College, Saurashtra Uni., Rajkot, p. 3 7. bho.je.sAMDesarA, "pATaNanA graMthabhaMDAro', kumAra varSa - 18, pR. 136-139. 8. "Indian Manuscripts and Manuscriptology, Publish, Acadamic Staff College Saurashtra Uni., Rajkot, P1, Octo.-1999. 9. ejana, pR.9 10. gujarAtano rAjakIya ane sAMskRtika itihAsa, khaMDa-4, pR. 4 99. Contribution of Gujarat to Sanskrit Literature, p. 521 Publish by Dr. M.I.Prajapati Sasti-purti Samiti, Patan, First Edition : October-1998 12. (1) niyuktipatra-ela.DI.AI.AI-2005/2006 NMM. tA. 1-2-2006 (2) pramANapatra-ela.DI.AI.AI. - 2005/2006 NNIM. tA. 1-3-2006 13, mArgadarzana zibirapatra, ela.DI.AI.AI-2005/2006 NMM, tA. 10-2-2006 14. tA. 19-3-2006, ravivAre bapore 11-30 kalAke zarU thayelI mITiMgamAMthI prApta thayelI mAhitI mujaba. 15. hastaprata zodhaabhiyAna sAthe saMkaLAyelA ela.DI.inDolojInA mA. prophesara DaoN. maNibhAI prajApati sAthe tA. 8-3-2006 nA roja siddhapuranA zrI kanaiyAlAla rAmazaMkara joSInA vyaktigata mAlikInA graMthabhaMDAranI mulAkAta lIdhI, tyAMthI prApta thayelI hastapratone ela.DI. inDolojImAM mokalI ApI. 16. svAmI haMsAnaMdagiri ke. ma. zikSaka sArvajanika hAIskUlanI tA.1-3-2006 nA roja rUbarU mulAkAta lIdhI. temanA pAsethI maLI AvelI vyaktigata mAlikInI hastaprato. 17-18, ela.DI.inDolojImAM tA.19-3-2006nA roja mITiMgamAM DaoN. maNibhAI prajApatie ApelI mAhitI mujaba. -.. - kaDavuM ahilyAH uddhAra 120 sAmIpya : pu. 25, aMka 3-4, okTo. 2008 - mArca, 2009 For Private and Personal Use Only

Page #124
Shri Mahavir Jain Aradhana Kendra ziva maMdira, puMarezvara. konuM kartutva ? www.kobatirth.org zrI dinakara mahetA* kacchanA agatyanA prAcIna smArakomAMnuM eka ziva maMdira kacchanA nakhatrANA tAlukAnA maMjala gAmathI ekAda kilomITara dUra mukhya mArga para AveluM che. A zivamaMdira ''puMarezvara' tarIke sthAnika jANItuM che. daMtakathA mujaba A zivamaMdira puMa'rAe tenI rANI rAjai mATe baMdhAvela. rAjai siMdhanA rAjA cAMdanI putrI hatI. rAjaine vrata hatuM ke zivanI pUjA bAda ja tenuM dainika kArya zarU karavuM. have maMdiranA samaya bAbatanI carcA karIe te pahelAM puMa'rA vize thoDuM jANI laIe. kacchanA prakhyAta rAjAomAM ''puMa'rA'' paNa kacchanA itihAsamAM sthAna pAmela che. puMa'rAno samaya ane oLakha muzkela che, paraMtu kapilakoTanA parAkramI ane dAnavIra rAjA rA'lAkhA sAthe tenuM nAma joDAyela hoI tenI vigato maLI zakI che. puMa'ro, kapilakoTanA rA'lAkhAno bhatrIjo thato hato ane te kAkAnI sAthe kapilakoTamAM ja raheto hato. rA'lAkhA sAthe rahevAnA kAraNo mATe alaga alaga anuzruti che. eka anuzruti mujaba rA'lAkhAe tene kapalikoTa bolAvI potAnI sAthe rAkhyo hato. jyAre bIjI anuzruti mujaba tenA pitA ghAo sAthe aNabanAva thatA te kAkA pAse kapilakoTa AvIne rahyo hato. kAraNa game te hoya paNa e nizcita che ke te yuvAnavaye kAkA pAse ja raheto hato. kAkA rA'lAkhAno samaya sunizcita che. te mULarAja solaMkIno (I.sa. 942 thI 997) samakAlIna hato ane vaMthalInA rA'grAharipuno parama mitra hato. solaMkI rAjA mULarAje jyAre grAharipu para caDAI karI tyAre rA'lAkho tenI madade gayo hato ane ATakoTa pAse mULarAjanA hAthe marAyo hato. rA'lAkho zivabhakta hato. kapilakoTa (hAlanuM kerA)mAM teNe bhavya ziva maMdira banAvyuM hovAno eka abhiprAya che. te uparAMta kapilakoTa pharato majabUta killo paNa teNe baMdhAvyo hovAnuM mAnavAmAM Ave che. lokakathA anusAra A suMdara ane majabUta killo jyAre banI rahyo hato tyAre puMa'rAe AlocanA karatAM kahyuM hatuM ke killAnI dIvAla para haju eka vadhAre tharanI jarUra hatI. puMa'rAnI A TIkA cAraNane yogya na lAgatAM cAraNe puMa'rAne maheNuM mAryuM ke,4 lAkhe kharace lakhkha, kere koTa aDAyo, gaThameM hue garatha, ta padhdhara aDAIeM puMa'rA Acharya Shri Kailassagarsuri Gyanmandir A vAtathI puMa'rAne mAThuM lAgyuM ane kerA choDI padhdhara Avyo. ahIM AvIne teNe kerAnA sthapati tathA kArIgaro bolAvI kerA jevo ja majabUta ane suMdara killo banAvyo. killAne nAma ApyuM paragaDha. te uparAMta killAnI aMdara vaDI meDI tathA naMDhI meDI (nAnI meDI) jevAM sthApatyonI racanA karI. uttama sthApatyonI racanAthI puMa'rA racanAkAra sthapati 52 atyaMta khuza thayo ane sthapatine aDhaLaka dhanathI navAjyo. paraMtu ahIM paNa bhAratabharamAM eka yA bIjA svarUpe pracalita che tevI daMtakathA rA pua'rA mATe pracalita che ane tatsaMbadhita duhAo paNa racAyAM che. padhdharagaDha jevo bIjo killo sthapati koI mATe na banAve te mATe tenA baMne hAthanA kAMDA puMa'rAe kapAvI nakhAvyA. sthapatinA kAMDA kapAyA tethI tenI patnI khUba ja du:khI thaI ane puMa'rAne zrApa Apyo ke, verANa muMjA vAsa, teDA thIMdhA tuMhIje, mADu mArAine mulakajA, pata na roMdhI puMa re, * pUrvaniyAmaka, purAtattva khAtuM, gu.rA. ziva maMdira, puMarezvara. konuM kartutva ? For Private and Personal Use Only 121

Page #125
paTa poMdhA thI mAyi, poMdho gaDha pAtAra, phiTa phiTa toke puMarA, janamAre phiTakAra. lokavAyakA mujaba satInA zrApathI puMarAnuM patana thayuM. tenA mahAlayo vaDI meDI tathA nAnI meDI ane killo dharAzAyI thayAM. agAu noMdhyuM tema puMarAno samaya jANavA koI purAtAttvika ke aitihAsika purAvA prApta thatA nathI, paraMtu te rA'lAkhAno bhatrIjo thato hoI ane rA'lAkho mULarAjano samakAlIna hoI puMarAnA samaya mATe anumAna bAMdhI zakAya. rA'lAkhAnA janma tathA mRtyu vize AdhArabhUta mAhitI prApta thatI nathI, paraMtu zaMbhudAna gaDhavInA mata mujaba rA'lAkhAno janma I.sa. 911mAM ane mRtyu I.sa. 1035 mAM thayuM hatuM. eTale ke rA'lAkhAnuM AyuSya 124 varSanuM hatuM. anya mata mujaba rA'lAkhAnuM mRtyu I.sa. 979 mAM mULarAja sAthenI laDAImAM thayuM hatuM. A pramANe, jo rA'lAkhAno janma I.sa. 911 ane mRtyu I.sa. 979 gaNavAmAM Ave to rA'lAkhAnuM AyuSya 68 varSanuM gaNAya. puMaro rAlAkhAno bhatrIjo hato tethI anumAna thaI zake ke puMarAno samaya saMbhavata: I.sa. 950 AsapAsano hoI zake. puMarAnuM zAsana cha varSa jeTalA TUMkA gALAnuM hovAnuM eka anumAna che. ATalA TUMkA samayamAM bhavya zivAlaya tathA anya imArato bAMdhavAnuM zakya nathI. have sthApatyakIya dRSTie puMarezvara ziva maMdirane tapAsIe. zivAlayanI jagatInI uMcAI magvAraNa sahita 2.8 mITaranI che. jagatI laMbacorasa che. laMbacorasa jagatInI laMbAI 16.5 mITara ane pahoLAI 6.6 mITara che. (AkRti-1) jagatImAM nizcita aMtare TekA mATe vizeSa nikALA karela che. jagatInAM pAMca aMga che jemAM karNaka, aMtarapaTa kapotikA che ane sauthI upara paTaTIkA che. kapotikAmAM ardhacaMdranuM alaMkaraNa karela che. gUDhamaMDapamAM baMne bAju caMdrAvalokana karela che. pradakSiNApathamAM eka bArI mUkavAmAM AvI che. garbhagRha samacorasa ane sAduM che. gUDhamaMDapanA staMbha rucakA prakAranA che. upara staMbhazIrSamAM bhAraputraka tathA kIcakanAM bhAre zilpo kaMDArelAM che. (tasavIra 1, 2,3,4) rucakA staMbha maitraka sthApatyanI yAda Ape che. maMDapanI madhyamAM samatala prakArano vitAna che. maMDapanI dIvAlo sAdI che. kyAMya rUpakAma ke zilpa nathI. kerA ke koTAinA zilpasabhara maMDovarano ahIM abhAva che. gUDhamaMDapanI AgaLa eka samaye mukhamaMDapa haze. hAlamAM tenA pAyAnA paththaro dekhAya che. tenI AgaLa nadImaMDapa haze. have to tenI pIThanA avazeSa mAtra che. maMdiranuM zikhara paMcAMDaka che. cAra khUNe cAra ane madhyamAM pirAmiDa AkAranuM A zikhara viziSTa che. karNa paranI zikharikAnI jAlaka bhAta saurASTramAM AvelA rANakadevInA maMdiranA zikhara sAthe sAmya dharAve che. saurASTranA maitraka ane seMdhava samayanAM maMdironA saMdarbhano abhyAsa karIne ema. e. DhAkI A ziva maMdirane navamI sadInA aMtamAM mUke che. ema. e. DhAkIe gujarAta tathA rAjasthAnanAM maMdirono tulanAtmaka temaja zAstrIya rIte abhyAsa karIne teno saMbhavita samaya nakkI karyo che. te mujaba ziva maMdira, kerAno samaya I.sa. 950 ane puMarezvara athavA rANI rAjenA ziva maMdirano samaya I.sa. 900no nirdhArita karela che. 10 puMaro, rA'lAkhAnA nAnA bhAI ghAono putra ane rA'lAkhAno bhatrIjo thato hato. tethI puMaro svAbhAvika rIte rA'lAkhAthI paccIsathI pacAsa varSa nAno hoI zake. jo Ama hoya to maMdiranA samaya sAthe puMarAnA samayano meLa besato nathI. AthI spaSTa thAya che ke lokamukhe kahevAtuM puMarezvara maMdira puMarAe baMdhAvela nathI. to pachI AvuM bhavya zivAlaya koNe baMdhAvyuM ? rA lAkhA ane puMarA pahelAM jarUra koI pratApI rAjavI A vistAramAM thaI gayo haze. jenuM pageruM purAtattvavido, itihAsakAro tathA saMzodhakoe zodhavuM rahyuM. 122 sAmIpya : pu. 25, aMka 3-4, okTo. 2008 - mArca, 2009 For Private and Personal Use Only

Page #126
Shri Mahavir Jain Aradhana Kendra b. 2. 3. 4. 5. 6. 7. 8. 9. www.kobatirth.org saMdarbha rAmasiMhajI rAThoDa : 'kacchanuM saMskRti darzana', pR. 152 gujarAtano rAjakIya sAMskRtika itihAsa, graMtha-4, pR. 129 dinakara mahetA. ''rA'lAkhA phulANI ane kairAnuM ziva maMdira, sAmIpya, oNkTo. 2007, mArca 2008, pR. 90 rAmasiMhajI rAThoDa, ejana, pR. 152 dulerAya kArANI temanA graMthamAM jaNAve che ke A duho rA'lAkhAnI rANIe kahelo, ''kaccha kalAdhara', pR. 531 ejana, pR. 153 zaMbhudAna gaDhavI, ''kaccha darzana'", pR. 22 gu.rA.sAM.i,graMtha-4, pR. 129 ejana, graMtha 4, pR. 130 M.A. Dhaky. The chronology of the Solanki Termples of Gujarat. "Journal of the Madhya Pradesh Itihas Parishad, No. 3, 1961. - 10. M.A. Dhaky. The Genesis and Development of Maru-Gurjara Temple Architecture. Studies in Indian Temple Architecture. Paper presented at a Seminar held in Varanasi, 1967. ziva maMdira, puMarezvara. konuM kartRtva ? Acharya Shri Kailassagarsuri Gyanmandir ziva maMdira, puMarezvara - talamAna For Private and Personal Use Only 123

Page #127
paMcamasvaranI gAyikA koyalanuM kAMgaDA citrazailImAM Alekhana DaoN. annapUrNA zAha* saMgItamAM gAyana, vAdana ane nATyakalAno samAveza thAya che. jenI abhivyaktimAM dhvaninuM mahattva che. mATe saMgItane nAdavidyA paNa kahevAmAM Ave che. je dhvani ke avAja AtmAne sparze, AnaMdanI anubhUti karAve te nAda che. prAyavAyu ane agninA saMyogathI je dhvani utpanna thAya che te nAda kahevAya che. tethI ja hRdayanA dhabakArA zvAsocchavAsa jevI sUkSmamAM sUkSma kriyAo je jIvana sAthe saMkaLAyelI che te nAda vagara saMbhava nathI. A nAda hRdaya, kaMTha ane mastiSkamAM vAsa kare che. jene saMgItanI paribhASAmAM maMda, madhya ane tAranAM nAme oLakhavAmAM Ave che. 2 nAdanA Ahata ane anAhata evAM be prakAra che. je koI paNa prakAranA gharSaNa vagara pragaTa thAya te anAhata nAda che. yoganI sAdhanAmAM tenuM mahattva che. A nAdanuM mULasthAna hRdaya che. jayAM Izvarano vAsa che. mAnava prayatnathI be vastuonA gharSaNathI ke paraspara athaDAtAM je dhvani pragaTe che te Ahata nAda che. sAmAnya rIte lokaraMjana mATe Ahata nAdanI sAdhanA thAya che. paNa A sAdhanAnuM caramabiMdu to chevaTe Ahata nAda sudhI pahoMcavAnuM ja che. samagra brahmAMDa nAdamaya che. nAdathI varNa, varNathI zabda, zabdathI bhASA ane bhASAthI vANI samRddha bane che. temaja bhASAthI AkhI sRSTi cAle che. tethI AkhI sRSTi nAdane AdhIna che. saMgIta ratnAkaranA racanAkAra sAraMgadeva kahe che ke, "bolavAnI icchA karanAro AtmA manane preraNA Ape che. mana zarIramAM rahelA agnine gati Ape che. A agni zvAsocchavAsa calAvanAra prANavAyune calAve che te vAyu nAbhi, hRdaya, kaMTha mastaka ane mukha vATe dhvani pragaTa kare che. Ama, A pAMca sthAnomAMthI pragaTa thayelo dhvani nAda kahevAya che. A nAdanuM alaukika ane camatkArika rUpa eTale saMgIta. manuSya Ahata nAdanI upAsanA karI ane vividha dhvanionuM sarjana karyuM. A dhvaninA sUkSma rUpane zruti ane sthaLa rUpane svara kahevAmAM Ave che. je svAbhAvika rIte sAMbhaLanAranA cittane AkarSita kare, bhAvamaya kare te svara che. A nAdamAM 22 bheda che. je zruti tarIke oLakhAya che. jemAMthI mukhya sAta svaranI utpatti manAya che ane temAMthI aneka rAga-rAgiNIonuM sarjana thayuM. A sAta svara SaDaja, RSabha, gAMdhAra, madhyama, paMcama, paivata ane niSAdanA nAme oLakhAya che. A svarone potAnI cokkasa oLakha che. mAnava vikAsano itihAsa tapAsIe to ApaNe kahI zakIe ke prakRtinAM vividha jIvonuM ziSyatva mAnave potAnI vikAsa yAtrAmAM svIkAryuM che. evI ja rIte saMgItanA svaromAM paNa teNe e ziSyatva svIkAryuM haze. varSo sudhI emanA svara sAMbhaLI-sAMbhaLIne mAnavIe vividha svaronI zodha karI haze. ahobala kahe che ke, "prakRtinAM badhAM ja jIvo jemake mora, cakalI, koyala, bhamarA, haraNa jevAM pazu-pakSIo gAya che tethI saMgIta suSTi para cArebAju kudaratI rIte vyApta che. pRthvI, jaLa, teja, vAyu, AkAza, kALa, dizA, AbhA, mana ane jIvo para A sAta svarano UMDo prabhAva che. mAnave A pazu-pakSIonAM dhvaniomAMthI saMgItanAM svaronuM sarjana karyuM che. A vAtanAM pramANa saMgItane lagatAM graMtho jevAM ke nAradIya zikSA, nATyazAstra, saMgItaratnAkara, saMgIta pArijAta', saMgItamakaraMda, saMgItadarpaNao, jaina Agamo-sthAnAMgasUtra, anuyogadvAra sUtra vagere graMthomAM kayo svara kayA pazu-pakSIonAM dhvanio sAthe sAmya dharAve che teno khyAla Ape che je A pramANe che : * vyAkhyAtA, bhAratIya saMskRti vibhAga, vIrabAI mA mahilA kaoNleja, rAjakoTa 124 sAmIpya : pu. 25, aMka 3-4, okTo. 2008 - mArca, 2009 For Private and Personal Use Only

Page #128
SaDaja - mora RSabha - cAtaka, kUkaDo gAMdhAra-bakarI, haMsa madhyama - krAMca, kAgaDo ane gAya paMcama - koyala paivata - sArasa, deDako, ghoDo niSAda-hAthInA svaro sAthe sAmya dharAve che. AgaLa jatAM svaronI utpattinAM kAraNamAM sattva, rajas ane tamasa guNo paNa manAya che tethI dareka svaranA bhAva(rasa) nakkI thayA jema ke SaDaja - zRMgAra, adbhuta RSabha - hAsya, zRMgAra, karuNa gAMdhAra-vIra, raudra ane adbhuta madhyama - hAsya, zRMgAra paMcama - zRMgAra, karuNa paivata - karuNa, hAsya, bIbhatsa niSAda - vIra, raudra, adbhuta saMgIta ratnAkara ane saMgIta pArijAtamAM A svaromAM raMgo ane RtuonuM paNa varNana che. te mujaba svaronAM raMga A pramANe che : SaDaja - kamaLa jevo lAla athavA gulAbI RSabha - tADavRkSanAM pAna jevo lIlo-pILo mizrita gAMdhAra - pILo (sonA jevo) paMcama - kALo paivata - haLadara jevo pILo madhyama - sapheda niSAda - kAbaracItaro evI ja rIte sAta svaranI RtuonuM paNa varNana che. te mujaba svaronI Rtuo A pramANe che. SaDaja-vasaMta RSabha-grISma gAMdhAra-varSA madhyama-zarada paMcama-vasaMta, varSA dhavata-zizira niSAda-mizra paMcamasvaranI gAyikA koyalanuM kAMgaDA citrazailImAM Alekhana 125 For Private and Personal Use Only

Page #129
evI ja rIte svaronAM nAma aMgenI paNa vigato maLe che. jemake paMcama svara nAbhi, hoTha, kaMTha, mastaka ane hRdaya evAM pAMca sthAnomAMthI nirmANa pAme che tethI te paMcama svara kahevAya che. A sAta svaronA devo kramaza: agni, brahmA, sarasvatI, gaNapati, sUrya, nArAyaNa manAya che. koyala paMcama svaranI gAyikA che. A svara tIvra hoya che. tIvra svara zRMgAranuM pratIka che. A svaranA bhAvamAM zRMgAra mukhya che. jemAM prema, viraha ane milanano bhAva rahelo che. svarano karaNa rasa paNa viyoga, vilApa, smRti jevAM bhAvone vyakta kare che. bhArate A raso vizenI UMDI samaja ApI che. 5 citrakalAnAM AlekhanamAM viraha ane milananA bhAvone vyakta karavA mATe prakRti ane pazu-paMkhIonuM paNa citraNa karavAmAM Ave che. sAthe-sAthe tene anurUpa RtuonuM paNa Alekhana karavAmAM Ave che. koyalanI bhAvasRSTi zRMgAra che ane Rtuo vasaMta ane varSA che. citrakalAmAM koyalanuM Alekhana bhAva ane RtuonAM saMdarbhe e ja prakAre thayuM che. | koyala vasaMtaRtunI sahacarI che. tene vastunuM Agamana priya che. tethI ja A Rtu AvatAM ja tenA svaramAM umaMga jovA maLe che. tethI koyalane vasaMtanI dUtI mAnavAmAM Ave che. A samaye ThaMDIthI ThUMThavAyelI prakRti ALasa maraDI pharI UbhI thAya che tyAre AvA samaye koyalanA ullAsanuM zuM kahevuM ? koyala A RtumAM prema, viraha ane milananAM bhAvone vyakta kare che. koyalanAM paMcamasvaranI tulanA kAmadevanA pAMceya bANa sAthe karavAmAM AvI che. koyalanI kUkane kAmadevano Adeza mAnavAmAM Ave che. koyalanuM nivAsasthAna ghaTAdAra vRkSo che. phUlothI ladAyelAM vRkSo che. vasaMtaRtumAM phUlothI bharAyelA samRddha ghaTAdAra vRkSonuM bAhulya hoya che. A samaya kAmadevano hoya che. tyAre koyalanI guMja vAtAvaraNane sohAmaNuM banAve che. varSARtumAM vRkSo lIlAMchama banI jhUmI UThe che tyAre paNa koyalano svara viraha ane zRMgArane vyakta kare che. citrakalAmAM AvAM ja bhAvo sAthe koyalanuM citraNa thayuM che. pahADI citrakalAmAM kAvya, saMgIta ane raMgono adbhuta samanvaya jovA maLe che. pahADI citrakalAmAM ghaTAdAra vAdaLo, doDatI vIjaLIo, pahADa, jaMgala, ghaTAdAra vRkSo, bataka, sArasa, mora, cakora, koyala, papItA, popaTa vagerenuM suMdara citraNa thayuM che. A citrazailImAM pakSIonuM Alekhana nAyaka-nAyikAnA bhAvo sAthe thayuM che. ahIM moTe bhAge nAyaka kRSNa ane nAyikA rAdhA che. koyala ane papIhA eka ja kuLanAM pakSIo che. tethI teo eka sarakhA bhAvone rajU kare che. A pakSIonI sAthe RtuonuM paNa Alekhana thayuM che. kAMgaDA citrazailI pahADI citrakalAno prANasama che. ahIM keTalAMka citro dvArA, citronI zRMgAra bhAvasRSTimAM koyalanuM Alekhana e bhAvasRSTine vadhu majabUta ane saMgItamaya banAvatI hoya tema lAge che te darzAvavAno prayatna karyo che. eka bAju vAdaLo gherAyelAM che, vIjaLI camakI rahI che, koyala gAI rahI che, bhIno pavana vahI rahyo che. tyAre nAyikA tenA priyatamane vaLagIne varasAdane kahI rahI che ke mAro priyatama mArI pAse che. tene mArAthI dUra nA karIza (juo citra-1). varSARtunA bIjA eka citramAM priyatamA vAdaLo tarapha AMgaLI batAvI jANe kahI rahI che ke mAro priyatama javAnI vAta kare che paNa tuM na jato ane ene paNa na javA deto, kAraNa ke badhAM ja premIjano varSARtumAM maLe che. tyAre phUlonI DALI para beThelI koyala priyatamanI sAme joI kahetI hoya ke tArI priyatamA sAcI che tema lAge che. (juo citra naM.2) varSARtunAM eka citramAM gherAyelAM kALAM vAdaLo, camakatI vIjaLIo, ghaTAdAra vRkSo ane tenAM para beThelI koyalo jANe kRSNa-rAdhAnAM milanane vadhAvI rahI hoya tema lAge che. Aja RtunA morane paNa ahIM joI zakAya che. 126 sAmIpya : pu. 25, aMka 3-4, okTo. 2008 - mArca, 2009 For Private and Personal Use Only

Page #130
vasaMtaRtu AvatAM vRkSo phUlothI ladAyelAM che. evA ja eka ghaTAdAra vRkSanI nIce kRSNa ane rAdhA ekamekanAM premamAM magna che tyAre tenAM A bhAvane vAcA ApatAM be pakSIo temaja DALa upara koyala beThelI batAvelI che. bIjA eka citramAM rAdhA ane kRSNa ekabIjAnI najIka besI arIsAmAM potAnAM mukha nihALI rahyAM che tyAre teonI banne bAja DALa para koyala beThelI dekhAya che. AkhI rAta sAthe rahyA pachI savAre kRSNa ane rAdhA bhavanamAMthI bahAra AvI rahyAM che. teo ekabIjAnI sAthe vArtAlApa karI rahyAM che. tyAre jhADa para beThelI koyala gIta gAtI hoya tema lAge che. badhI latAo ane jhADa phUlothI ladAyelAM che. sarovaro ane nadIo paNa pANIthI bharAyelAM che. cAre bAju kAmadevanuM kAmaNa che. DALa para beThelI koyalo prema gIto gAtI hoya tema lAge che. tyAre he priyatama tuM javAnI vAta zA mATe kare che? zA mATe A milananA-AnaMdanA rasane phikko kare che? vArtAlApanA A bhAvone DALI para beThelI koyalo paNa vyakta karatI hoya tema lAge che. kRSNa gopIo vacce gherAyelA che tyAre rAdhA tenI sakhIne kahe che ke jone kRSNa hajI mane maLavA kema AvatA nathI. zRMgAranA milananI taDapanA A bhAvonI abhivyaktimAM prakRti citraNanI sAthe DALa para beThelI chUTI chUTI koyalo jANe sUra purAvI rahI hoya tema lAge che. bIjA eka citramAM kRSNa rAdhAnA vALa oLatA dekhADyA che ane koyala gUMjatI batAvI che. kRSNa gopIo sAthe gherAyelA hatA ane pachI jayAre rAdhA pAse gayA tyAre rAdhA gussAmAM che ane kRSNano cheDo pakaDe che. premanA A rUpane vyakta karavA citrakAre DALIo para koyalo besADI che. kRSNa ane rAdhAnuM milana DALIo para beThelI koyalo jANe gAIne samagra prakRtine jaNAvI rahI hoya tema lAge che. vasaMtaRtu khIlI che. kRSNa rAdhAnI rAha jotA UbhA che. rAdhAne kRSNa sudhI javAmAM zarama AvI rahI che tyAre enI sakhI tene kahe che, priyatamane maLavAmAM vaLI zarama zAnI ? DALa para beThelI koyalo milananAM A bhAvone vyakta karatI beThI che. varSARtumAM koyala virahano sUra paNa gAya che. tenI pratIti priyatamanI rAha jotI nAyikAnA A citramAM anubhavI zakAya che. AvA ja bhAvo bIjA citramAM paNa jovA maLe che. prakRtinuM vasaMtIrUpa khIlyuM che. koyalonA svarathI vAtAvaraNa gUMjI UThyuM che tyAre priyatamA kAgaDoLe priyatamanI rAha jotI batAvI che. vAdaLAM gherAyelAM che. koyala paNa bolI bolIne thAkI che ane huM paNa rAha joIne thAkI che. AvA samaye sakhIo nAyikAne sAMtvanA ApI rahI che, paNa tenAM du:khamAM koI phera paDato nathI. bIjA dRzyamAM nAyaka paNa tenA virahamAM che. A vAtane kavi kezava A rIte mUke che. "kaise hu na mAne ho bulAI hArI kezorAya boli hArI kokilA, bulAI hArI cAtakI.'' Ama, saMgItakAra ane citrakAra potAnAM mAdhyamo vaDe bhAvone vyakta kare che. saMgIta ane citrakalAne UMDo saMbaMdha che, tethI zAstrakAroe svarono raMga, rasa, Rtuo varNavyA che. saMgItanA vividha pahela manamAM citra UbhAM kare che jene citrakAra citromAM DhALe che tyAre A kalAo paraspara jADAI jAya che. ApaNe kAMgaDA zailInAM citromAM varSA ane vasaMtaRtu temaja prema, milana ane virahanAM bhAvomAM koyalanuM Alekhana Aja saMdarbhe joyuM. paMcamasvaranI gAyikA koyalanuM kAMgaDA citrazailImAM Alekhana 127 For Private and Personal Use Only

Page #131
- je 4 4 pAdaTIpa ahobala-saMgIta pArijAta-saMgItazAlA hAtharasa 1956 pR. 36 dAmodara paMDita, saMgIta darpaNa, a.1-39 3. ejana, 1880, a.1-14 sAraMgadeva - saMgItaratnAkara, AnaMda Azrama, punA, 1898, svarAdhyAya, zloka 1, 2 5. saMgIta pArijAta, a.1 zloka 2 6. bharata nATyazAstra, kAvyamAlA sirIjha, baoNmba, 1894, 5, 6 7. saMgIta ratnAkara, svarAdhyAya, zloka 48 8. saMgIta pArijAta, svaraprakaraNa, zloka 94, 95,96 9. maMgeza rAmakRSNa tailaMga, nArada-saMgIta makaraMda, gAyakavADa orienTala sirIjha vaDodarA-1920 10. saMgIta darpaNa, a. 1-3 11. sthAnAMgasUtra 12. anuyogadvArasUtra 13. saMgIta pArijAta, svara prakaraNam, zloka 94 thI 96 14. saMgIta ratnAkara, svarAdhyAya. 15. nATyazAstra, a.6-35,36 16. upa sva { vat - naiSadhIyarita, 4-14 raMgasUtra, gurumAra kAunDezana mahAvIra pravAzana, : saMdarbhasUci ahobala, saMgIta pArijAta, saMgItazAlA hAtharasa, 1956 dAmodara paMDita, saMgIta darpaNa, kalakattA, 1880 sAraMgadeva, saMgItaratnAkara, AnaMdaAzrama, punA, 1898 bharatamuni, nATyazAstra-kAvyamAlA sirIjha, baoNmba, 1894 maMgeza rAmakRSNa tailaMga, nArada saMgIta makaraMda, gAyakavADa orienTala sirIjha, vaDodarA, 1920 sthAnAMgasUtra, guruprANa phAunDezana, mahAvIra sevA TrasTa, rAjakoTa anuyogadvArasUtra, guruprANa phAunDezana mahAvIra sevATrasTa, rAjakoTa DaoN. rAmadatta zarmA, saMskRta kAvyo meM pazupakSI, devanAgara prakAzana, jayapura vAcaspati gerelA, bhAratIya citrakalA, mitra prakAzana prA.li. ilAhAbAda DaoN. zaradacaMdra zrIdhara parAMjape, bhAratIya saMgIta kA itihAsa, coravambhA vidyAbhavana-vArANasI kizorIlAla vaidya, pahADI citrakalA, nezanala pablIkezana hAusa-dillI DaoN. cInubhAI nAyaka, bhAratIya citrakalAnI rUparekhA, gu. yu. graMthanirmANa borDa puruSottama nA. gAMdhI, gujarAtamAM saMgItanuM punarjIvana, navajIvana prakAzana maMdira, amadAvAda mahArANA prabhAtadevajI, saMgIta prakAza, bhAga-1, nArAyaNa devajI svasthAna - dharamapura Chandramanisingh, Centres of Pahari Painting, Abhimali Publications-1, New Delhi, 1990 M. S. Randhawa, Kangra Paintings on Love, National Museum, New Delhi, 1962 128 sAmIpya : pu. 25, aMka 3-4, okTo. 2008 - mArca, 2009 For Private and Personal Use Only

Page #132
citra-2 : varSARtu - kAMgaDA zailI,pahADI citrakalA citra-1 : kAMgaDA zailI, pahADI citrakalA paMcamasvaranI gAyikA koyalanuM kAMgaDA citrazailImAM Alekhana 129

Page #133
gujarAtanA chappaniyA dukALa vizenA traNa zilAlekha DaoN. thomasa paramAra uttara gujarAta ane madhya bhAratano moTo bhAga I.sa. 1897nA dukALanA oLAmAMthI mAMDa bahAra Avyo hato tyAM to I.sa. 1900mAM bhayaMkara dukALa paDyo. vi.saM.nuM te 1956nuM varSa hovAthI A dukALa 'chappaniyA dukALa' tarIke jANIto che. A dukALe gujarAtamAM ghaNI moTI khAnAkharAbI sarjI hatI. gujarAtamAM sAmAnyarIte vArSika sarerAza 33 IMca jeTalo varasAda paDato, tene badale 1899mAM mAtra 7.3 iMca varasAda paDyo. A dukALamAM hajAro loko sapaDAyA hatA. gujarAtamAM paDelA dukALomAM A dukALa ghaNo ja dArUNa hato. A dukALano ullekha karatAM traNa zilAlekha prApta thayA che. eka zilAlekha prAMtijamAM Avelo che ane anya be zilAlekha hAla jyAM nenokArano projakaTa cAlI rahyo che tyAM sANaMdathI chAroDI jatAM, chAroDI pahelAM DAbI bAjue cArolanA raste pravezatAM traNa ki.mI dUra northakoTapurAmAM AvelA che. A baMne sthaLonI anukrame tA. 7-112008 ane tA. 9-12-2008 nA roja zrI mahezabhAI paramAra sAthe jAte mulAkAta laIne kSetriya saMzodhana karIne A traNe zilAlekhono abhyAsa nIce pramANe karyo che. zilAlekha naM. 1 A duSkALa vakhate bhUkhamarA sAthe kolerAno roga phATI nIkaLyo hato. A samaye khristI mizanarIoe seMkaDo lokone mRtyunA mukhamAMthI bacAvI levAno prayatna karyo. mizana kampAunDo AvA bacAvI levAyelAMo, mukhyatve bALakothI bharAI gayAM hatAM. bhUkhe maratAM bALako mATe AkhA gujarAtamAM anAthAlayo zarU karavAmAM AvyAM, pariNAme hajAronA jIva bacAvI levAyA. prAMtijamAM 1899mAM je.esa.sTIvanse anAthAzrama kholyo hato. zarUAtamAM tyAM 9 thI 12 varSanI vayanAM cAra ja chokarAM hatAM. te pachI saMkhyA vadhavA lAgI. moTAbhAganAM tyAM AvelAM bALako koLI jAtanAM hatAM. prAMtijamAM 300 bALako bhUkhamarA ane kolerAne kAraNe mRtyu pAmyAM hatAM. A 300 anAmI bALakone eka moTAM khADAmAM ekasAmaTAM daphanAvI dIdhAM hatAM ane temanI kabara para gujarAtI lekhavALo kelTika krosa Ubho karyo hato. hAla A krosa sI.ena.AI. carcanA kampAunDamAM Ubho rAkhavAmAM Avyo che. 7-11-2008nI mArI mulAkAta daramiyAna carcanA pAsTara reva. AlbarTa kArapenTare jaNAvyuM ke, ''te vakhate roja, 10,15 ke 20 bALako marI jatAM hatAM. temanA zabane eka khAlI havaDa kUvAmAM padharAvIne temanI 52 dhULa nAMkhI devAtI. e rIte 300 mRta bALakone kramazaH daphanAvavAmAM AvyA hatA. te pachI kUvA para plAsTara karIne tene baMdha karIne tenI para A krosa Ubho karavAmAM Avyo hato. paraMtu e jagyA dUra hatI. AjubAju koI vastI na hatI. koI vyakti A krosane toDIne laI na jAya te hetuthI tene mULa sthAnethI khaseDIne carcanA kampAunDamAM tA.1-1-1987nA roja Ubho karavAmAM Avyo. + Acharya Shri Kailassagarsuri Gyanmandir kelTika prakArano A kalAtmaka krosa 2 mITa2-6 se.mI. UMco che. tenI ADI bAjuo kula 99 se.mI. lAMbI che. krosanI AgaLa ane pAchaLanI bAjue klAtmaka suzobhano che. krosanI AgaLanI eTale ke pazcimanI bAjue UbhA bhAgamAM gujarAtI bhASAmAM lekha kotarelo che. lekha kotarelo bhAga 41 se.mI. x 31 se.mI che. lekhano pATha nIce pramANe che. 130 vyAkhyAtA, bhAratIya saMskRti vibhAga, eca.ke. ArTsa kaoNleja, Azrama roDa, amadAvAda - 380009 gujarAta ItihAsa pariSadanuM 25mA adhivezana, jayapura mukAme 19-21 Dise. 2008mAM vaMcAyela zodhapatra. sAmIpya : pu. 25, aMka 3-4, okTo. 2008 For Private and Personal Use Only mArca, 2009

Page #134
A kabarastAnamAM dATelAM traNaseM bALako I.sa. 1900nA dukALane prasaMge maraNa dvAre uttama gheTAM pALakanI bAthamAM Azraya pAmyA temane smaraNArthe "teone pharI bhUkha nahIM lAgase" lekhanA akSaro 2 se.mI - 1.5 se.mI mApanA che. lekhano viSaya spaSTa che te i.sa. 1900 duSkALamAM ahIM mRtyu pAmelAM 300 bALakonI smRtimAM A krosa Ubho karavAmAM Avyo hato. ahIM "gheTAM pALaka' zabdo isu mATe vaparAyela che. arthAta A mRta bALako have IzvaranI bAthamAM che. lekhanI aMtima paMkti bAibalamAMthI levAI che. A paMkti khUba ja sUcaka che. bhUkhamarAthI mRtyu pAmelAM bALakone have bhUkha nahIM lAge. kAraNake teo pArthiva jagatane choDIne IzvaranI pAse pahoMcI gayA che. Izvara sAnnidhya hoya to pachI nazvara zarIrane bhUkha kyAMthI lAge? krosanI madhyamAM eka nAnuM ane tene pharatuM moTuM vartuLa che. nAnA vartuLanI madhyamAM grIka krosa che. moTAM vartuLamAM cAra ardhavartuLo che. ADI bAjunA baMne cheDe ane UbhI bAjunA uparanA cheDAnA bhAge baMne bAjue sAta sAta phaLo AlekhyAM che kula 42 phaLo AlekhyAM che. krosanI paDakhenI badhI bAjue phUlavelanAM suzobhano che. krosanI pAchaLanI bAjue madhyamAM vartuLa karIne temAM cAvI, raNaziMgu ane bharavADa (gheTAM pALakonI lAkaDI kotarelI che. aMtima divasa eTale ke nyAyanA divase IzvaranA devadUto raNaziMguM phaMkIne marelAone uThADaze. ahIM kotarela raNaziMguM eno aNasAra Ape che. arthAt A bALako pharI pAchA tyAre nyAyanA divase jIvatAM thaze. cAvI e svarganA rAjyanA tAranI cAvInuM sUcana kare che arthAt A bALako svarganA rAjyanA adhikArI thayA che. bharavADanI lAkaDI eTale ke gheTAMpALaka arthAt isunuM pratIka che. lekhamAM jaNAvyA pramANe A mRta bALako gheTAMpALaka (isu)nI bAthamAM Azraya pAmyAM che. tenuM paNa sUcana kare che. uparanA UbhA bhAgamAM zahenAI ane phiDala jevAM vAjiMtronuM Alekhana kareluM che je saMgIta dvArA AnaMdanuM sUcana kare che. svargamAM temanA svAgata mATe jANe ke saMgIta vagADavAmAM Ave che. vartuLanI nIcenA UbhA bhAgamAM kulapattAMnI bhAta che, je sidI saIdanI jALInI bhAtane maLatI Ave che. A bhAgane paDakhe khajUrInA vRkSanuM Alekhana che. gujarAtamAM AnA jevo bIjo suMdara ane kalAtmaka krosa nahIM hoya. Wedge (phAcara) AkAranA pleTaphorma para corasa pirAmiDa AkAranI plinka para krosa Ubho che. pleTaphormanI paDakhenI bAju 2 mI 15 se.mI lAMbI che. tenI AgaLanI sAMkaDI bAju 33 se.mI ane pAchaLanI bAju ramI. 10 se.mI. mApanI che. krosanI AgaLa pleTaphaoNrmanI upara kALA ArasamAM sonerI akSaromAM nIce pramANenuM lakhANa che : "When you did it to these my biothers you were doing it to Me !" (Bible) This memorial was re-erected On 1st Jan-1987 On belaff of Mrs. & Rev. H.P. Cromie New Zealand gujarAtanA chappaniyA dukALa vizenA traNa zilAlekha 131 For Private and Personal Use Only

Page #135
A lakhANano sAra e che ke nyUjhIlenDanA misisa ane reva. (revanDa) eca.pI. kromI vatI A smArakanuM 1lI jAnyu-1987nA roja punaH nirmANa karavAmAM AvyuM hatuM. arthAt A krosane carcanA kampAunDamAM Ubho karavA Te eca.pI. kromIe Arthika sahAya pUrI pADI hatI. lekhanI prathama be paMktiovALuM vAkya bAIbalamAMthI levAmAM AvyuM che. teno sAra che ke tame mArA A bhAIo mATe je kaMI karyuM te tame mane karatA hatA. eTale ke dIna duHkhiyAo mATe karelI sevA isune ja karelI sevA barAbara che. ahIMnuM carca 1885mAM baMdhAyuM. AI.pI. mizanA reva. je.ela.sTIvansana sAhebe ahIM 1895 thI 1924 sudhI evA ApI hatI. 2001nA dharatIkaMpamAM A carca khaMDita thaI javAthI 2007mAM tenuM punaHnirmANa karavAmAM AvyuM. jUnA devaLamAM sTIvansana sAhebanI smRtimAM takatI hatI te paNa dharatIkaMpa vakhate khaMDita thaI javAthI navA devaLanA pravezanI uttara dizAmAM navI takatI kALA ArasamAM sonerI akSaromAM che. teno pATha nIce pramANe che. (1) prabhune nAme. (2) sane 1980nA duSkALa pIDitone poSI, anArthInI pitRbhAvathI sevI (3) ane aneka rIte khIlavI temaja satvanI mahimAvAna suvArtA phelAvI (4) jiMdagIno sarvottama bhAga gujarAtanI sevAne arthe I.sa. 1895thI (5) 1924 sudhInAM varSo AI.pI. mizananA mizanarI (60 reva.je.esa.sTIvansana sAhebe (7) IzvaranA aizvarya arthe samarpaNa karyA temanA smaraNArthe (8) " "iSTa vastuo jo bhUkhyAone ApI de, ane duHkhI mANasanA (9) jIvane tRpta kare, to tAro prakAza aMdhakAramAMthI jhaLakI UThaze." (10) yazA pa8; 10 navA devaLanA bAMdhakAmane lagato zilAlekha uparanA zilAlekhanI nIce che. te paNa kALA ArasamAM sonerI akSaromAM lakhelo che. teno pATha nIce pramANe che : (1) A prabhumaMdirane I.sa. 2001nA dharatIkaMpa dvArA (2) pArAvAra nukasAna thatAM punaH bAMdhakAma karavAmAM AvyuM. (3) je prabhu para prema rAkhanAra sva.jayorja sulemAna krisTI tathA (4) phalorA bahenanAM bALakonAM vizvAsa, samarpaNa, prArthanAne (50 kAraNe zakya banyuM che. (6) IzvaranA mahimAthe tA. 01-07-2007nA ravivAre (7) sI.ena.AI. gujarAta DAyosisanA bizapa rAITa (8) reva. vi.ema. mAlaviyA sAhebanA haste A prabhumaMdiranuM (9) punaHsamarpaNa karavAmAM AvyuM. 132 sAmIpya : pu. 25, aMka 3-4, okTo. 2008 - mArca, 2009 For Private and Personal Use Only

Page #136
Shri Mahavir Jain Aradhana Kendra zilAlekha naM. 2,3 A baMne zilAlekha hAla jyAM nenokAranA projekTanuM kAma cAlI rahyuM che tyAM sANaMdathI chAroDI jatAM, chAroDI pahelAM DAbI bAjue cArolanA raste pravezatAM traNa kI.mI. dUra northakoTapurAmAM northakoTapurA prAthamikazALAnI bAjumAM AvelA che. emAMno eka zilAlekha aMgrejImAM ane bIjo gujarAtI bhASAmAM lakhelo che. dukALa daramiyAna Dhorone rakSaNa ApavA mATe chAroDI pAse keTalaphArma UbhuM karavAmAM AvyuM temAM phaMDa ApanAra dAtAonA nAma ane temanI sAme dAnanI rakama A baMne zilAlekhamAM jaNAvI che. baMne zilAlekhono viSaya eka ja che. temAnA pATha nIce pramANe che. 2 2 2 2 2 2 2 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. SIR D.M. PETIT BART_______________RS. 1160 20. SETH CHIMANLAL MAGINDAS. 21. 23. 24. www.kobatirth.org 25. 26. 27. zilAlekha naM. 2 THE GUJARAT CATTLE PRESERVATION ASSOCIATION WAS FORMED. DURING THE GREAT FAMINE OF 1899-1900 THROUGH THE MUNIFICENCE OF HIS EXCELLENCY LORD NORTH COTE, GOVERNER OF BOMBAY AND OTHER PHILANTHROPIC GENTLEMEN, THE ASSOCIATION HAVING, WITH SINGAN SUCCESS ACCOMPLISHED ITS OBJECT OF PRESERVING THE FAMOUS GUJARAT BREED OF CATTLE, THEN THREATENED WITH EXTINCTION, MADE OVER THE NORTH COTE CATTLE FARM AT CHAARODI TO THE GOVERNMENT OF BOMBAY, IN THE YEAR OF 1907, FOR THE CONTINUED MAINTANCE IMPROVEMENT OF THE BREED, THE NAMES OF THE PRINCIPAL. SUBSCRIBERS TO THE FUNDS OF THE ASSOCIATION ARE INSCRIBED. BELOW HIS EXCELLENCY LORD NORTHCOTE, GC.I.E., C.B. GOVERNER OF BOMBAY, RS. 24000 FAMING RELIEF FUND__ RS. 3000 DR. SCHOLDER DEVELAY OF ZURICH RS. 2000 HIS HIGHNESS SIR SHAHU CHAATRAPATI, G.C.S.I. G.C.V.O., L.L.D., M.R.A.S.MAHARAJA OF KOLHAPUR. MESSRS JEHANGIR & PESTONJI VAKIL RS. 1500 RS. 1000 SETH LALBHAI DALAPATBHAI & BROTHER MESSRS GREAVES COTTON & CO. M.N.M.WADIA_____RS. 1000 THE RIGHT REVEREND DR. JAMES MAC ARTHUR D.D.DISHOP OF BOMBAY RS. 1000 MR. MADHAVLAL RANCHHODLAL_______RS. 1000 MESSRS MANASHUKHBHAI & JAMANABHAI BHAGUBHAL gujarAtanA chappaniyA dukALa vizenA traNa zilAlekha Acharya Shri Kailassagarsuri Gyanmandir RS. 1000 For Private and Personal Use Only RS. 1500 RS. 1000 RS. 1000 133

Page #137
28. MR. R.P. LAMBERT RS. 1000 THE BOMBAY PIECE GOODS MERCHANT'S ASSOCIATION RS. 1000 30. MR. JAMSEDJI NASARWANJI TATA RS. 1000 - rU. 3000 | zilAlekha naM. 3 1. gujarAtanAM DhoronuM rakSaNa karanAruM maMDaLa, muMbaInA gavarnara hijha ekselansI lorDa 2. northakoTa, tathA bIjA paropakArI gRhasthonI udAratAthI sane 1899-1900nA 3. bhayaMkara dukALa daramiyAna sthApavAmAM AvyuM hatuM. gujarAtanI jANItI DhoronI olAda ke je nAza thavAnI te vakhate dhAstI rahetI hatI. tenuM rakSaNa karavAmAM 5. te maMDaLa pUrepUrI rIte phatehamaMda thayA pachI, teNe DhoronI olAdanuM rakSaNa thatuM tathA teomAM sudhAro thato rahe teTalA sAruM, ane 1907nA varasamAM chAroDInuM northakoTa keTalaphArma sarakArane soMpyuM. te maMDaLanA phaMDamAM paisA bharanArA 8. mukhya gRhasthonAM nAma heThaLa ApyAM che. hijha ekselansI lorDa northakoTa jI.sI.AI.I.sI.vI. muMbaInA gavarnara - rU. 24000 11. phemIna rIlIpha phaMDa 2. jhayuricanA DokTara skolDara DevelI - rU. 20OO 13. hijha hAInesa sara zAhu chatrapati jI.sI.vI.o. ela.ela. 14. DI.ema.Ara.e.esa.kolhApuranA mahArAjA - rU. 1500 15. mesarsa jahAMgIra ane navarojajI pesInajI vakIla - rU. 1500 16. sara DI.ema.pITITa, beroneTa rU. 1160 17. zeTha cImanalAla nagInadAsa rU. 1OOO 18. zeTha lAlabhAI dalapatabhAI ane bhAI rU. 1000 19. mesarsa grIsa koTana ane kaMpanI rU. 1OOO 20. mi. ena. ema. vADiyA 1000 21. ghI rAITa revanDa DaoNkTara jemsa meka Arathara DI.DI. 22. muMbaInA bizapa. rU. 1000 23. mI mAdhavalAla raNachoDalAla. rU. 1000 24. mesarsa manasukhabhAI ane jamanAbhAI bhagubhAI - rU. 1000 25. mi. Ara.pI. lembarTa - rU. 1OOO 26. dhI bombe pisa gusa maracanTasa esosiyezana - rU. 1000 27. mi. jamazedajI nasaravAnajI TATA - rU. 1000 zilAlekha naM. 2 no gujarAtI anuvAda zilAlekha naM.3mAM ApavAmAM Avyo che tethI baMne zilAlekhano m th nh 134 sAmIpya : pu. 25, aMka 3-4, okTo. 2008 - mArca, 2009 For Private and Personal Use Only

Page #138
viSaya eka samAna che. duSkALa daramiyAna gujarAtanA DhoronuM rakSaNa karanAruM maMDaLa sthApavAmAM AvyuM hatuM. gujarAtanI jANItI DhoronI olAda dukALamAM nAza pAme tevo bhaya hovAthI AvI sArI olAdanAM DhoronuM rakSaNa karavAnA hetuthI A maMDaLa sthApavAmAM AvyuM hatuM. ane maMDaLane temAM saphaLatA maLI hatI. te pachI paNa DhoronuM rakSaNa thatuM rahe ane tenA olAdamAM sudhAro thato rahe te mATe 1907nA varSamAM chAroDI najIkanuM northakoTa keTalaphormanI soMpaNI sarakArane karI hatI. maMDaLanA phaMDa mATe dAna ApanAra dAtAonA nAmanI yAdI temaNe Apela dAnanI rakama sAthe darzAvI che. sauthI vadhu dAna muMbaInA gavarnara northakorTa karyuM hatuM. temanA dAnanI rakama rU. 24000 darzAvI che. tethI ja keTala phArmanA nAma sAthe temanuM nAma joDavAmAM AvyuM che. vadhu dAnanA kAraNe ja nahIM paraMtu maratAM Dhorone bacAvavA temaNe ghaNI jahemata uThAvI haze. jo Dhora bace to sukALanAM varSomAM sArI khetI thAya e dIrdhadaSTi hovI joIe. northakorTanI ATalI moTI sevAne lIdhe ja keTala phArmane northakorTa keTalaphArma nAma ApavAmAM AvyuM. eTaluM ja nahi jyAM A lekha AvelA che te sthaLa northakoTapurA tarIke Aje paNa prasiddha che. tenI prAthamikazALAnuM nAma paNa northakorTa purA che. gujarAtanI prajAe Aje paNa e rIte northakorTanI smRti jALavI che ane temanuM RNa mAthe rAkhyuM che. anya dAtAomAM jhayuricanA DaoNkTara skolDara DevelI, kolhApuranA mahArAjA zAha chatrapati, muMbaInA bizapa reva. DaoN. jemsa meka Arathara, mi. jamazedajI nasaravAnajI TATA vagerenA nAma dhyAnArha che. dharma, deza ke prAMtanA bhedabhAvane eka bAju korANe mUkIne dAtAoe dAna ApyAM che. phyuriyanA DaoN. skora che to kolhApuranA mahArAjA chatrapati paNa dAtAomAM che. dAtAonA dharma joIe to hiMdu, jaina, pArasI ane khristI dharma jaNAI Ave che. muMbaInA bizapa jIvadayA mATe dAna Ape te ghaNuM ja Azcarya pamADe tevuM che. Ama prAdezikatA ane sAMpradAyikatAnA vADA toDIne saue gujarAtanI A moTI kudaratI Aphata vakhate haLImaLIne jIvadayAnuM kAma karyuM hatuM. nenokAranA ghaDavaiyA zrI ratana TATAnA praprapitAmaha zrI jamazedajI nasaravAnajI TATAnuM nAma paNa dAtAomAM darzAvyuM che. jogAnujoga northakorTa keTalaphArma pAsenI jamIna ja ratana TATAne gujarAta sarakAre ApI che. dAnanI kula rakama rU. 4316) thAya che. A baMne zilAlekha sapheda ArasanI takatImA kotarelAM che. baMne takatInuM mApa 91.5 se.mI 74.5 se.mI. che. akSaro kotarIne temAM sIsuM pUreluM che. ghummaTAkArathI AcchAdita samacorasa bAMdhakAmanI dakSiNa bAjue aMgrejI ane uttara bAjue gujarAtI lekha che. tenI pIThikAthI ghummaTanI nIcenI kinArInI laMbAI 2 mITara 32 se.mI. che. jayAre samacorasa bhAga 1 mITara - 2 se.mI.no che. ghummaTavALo bhAga 1 mITara-para se.mI. UMcAI dharAve che. samacorasa bAMdhakAmanI uparanA bhAge cAre bAju kAMgarAnI hAra che. pIThikAmAM be bhIMtA ane tenI upara jADaMbo tathA kaNInA thara che. ghummaTanA zIrSabhAge nimnAbhimukhI kamaLanA suzobhana vaDe alaMkRta che. akSaronA mApa lagabhaga 2 se.mI 1.5 se.mI che. bAMdhakAmane pharatI lokhaMDanA pAIpanI reliMga karelI che. zilAlekha naM. 1 ane zilAlekha naM. 3 no abhyAsa karatAM so varSa pahelAMnI gujarAtanI bhASAno paNa khyAla Ave che. zilAlekha naM. 1 mAM "kabrastAna'ne badale "kabarastAna" "traNazo' ne badale 'traNase" ane "lAgaze' badale 'lAgase' lakheluM che. jayAre zilAlekha naM. 3 mAM "dhanI sAthe "da' joDIne "gha'no prayoga karyo che. jemake "dhI"ne badale ghI," dhAstI'ne badale "ghAstI'no ane "sudhArA'ne badale "sughArA'no prayoga karyo che. mAdhavalAlane badale mAghavalAla lakhAyuM che. Dr.nuM svarUpa "DaoN." lakhAya che, paNa lekhamAM "DokTara' AkhuM lakhyuM che. "Arthara' ne badale Arathara' lakhAyuM che. gujarAtanA A kAramAM dukALa daramiyAna manuSyo ane Dhorone bacAvI levAnA prayatno thayA hatA te hakIkata A zilAlekho dvArA jANavA maLe che. briTiza zAsana daramiyAna paNa gujarAtamAM jIvadayAnI bhAvanA jaLavAI rahI hatI te northakorTa purAnA lekho dvArA jANI zakAya che. gujarAtanA chappaniyA dukALa vizenA traNa zilAlekha 135 For Private and Personal Use Only

Page #139
smRti-smAraka zilAlekha naM. 1 namuno pAka , tenuM kAma mAM thI lAkha ,mana 1960nA vAM paMDayA A che. e ja jaI 6.0 mI ja nA che. 20) nana nanArA mANaso che ti witurkwirtscarto Rics blo sa rar of 10 - kalA, Two Yes No WUNIVICEMCR OR EXCELLENCY LORD SORTICOTRGOVI kana rabaka SONRAY STREETRILANTHROTIC BENTLEMEN IMK ANSOCIATIONS khaje .", pAne WAING, WITO SANAL SUCCESS ACCONPLISHEB IS ONDEOTO PRENERVINO TIK PAMOUR GUJRAE SRCES DE CARTE mAM sugharAM to TREATENED WITH XTINCTIOR, DE U N ORTHCOTE kouslama CATTLEPARMA CARROT TAX GOYANSIOSONAX THE YEAR 300, FOR THE CONTINUED AS kriya INPROXNINT OF THE S T ATE MARES PRINCIPAL nA SVONNIERS TOK FSS OF THE ASSAMANE INSCRIS ramI rahyo - a hoi * 1, +0ft "k <Page #140
briTiza zAsananI saurASTra para paDela asaro* DaoN. kalpA e. mANeka prAcIna kALathI saurASTra eka samRddha ane sabhya deza tarIke oLakhAya che, ane prAcIna graMthomAM tenuM mahattva svIkAravAmAM AvyuM che. prAcIna yugamAM ahIM zaryAto ane yAdavo, mauryo, zako, gupta, maitrako jevAM mahAna ane prabhAvazALI vaMzonI sattA rahI hatI. to gArUlako, saidhavo, cAlukyo, vALAo, pratihAro, rASTrakUTo ane cApa jevAM rAjyo paNa hatAM. madhyayugamAM saurASTramAM cAvaDA, cuDAsamA, jeThavA, gohila, vAghelA rAThoDa, jADejA, paramAra jevAM rAjapUta vaMzonAM rAjya hovAthI te samaye rAjapUtayuga tarIke oLakhAya che. e gALAmAM ja muslima AkramaNo saurASTra upara thayAM hatAM. paraMtu pachIthI ogaNIsamI sadInA prAraMbhe Adhunika yuganI zarUAta sAthe saurASTramAM kula 222 rAjyo AvelAM hatAM. Ama, prAcInakALathI laIne cheka ogaNIsamI sadInA prAraMbha sudhI saurASTramAM vividha vaMzonA svataMtra ane sArvabhauma rAjyo hatAM, paraMtu pachIthI pezvA ane gAyakavADe temanI nabaLAIno lAbha laIne mulukagiri caDAI karIne khaMDaNI vasUla karavAnuM zarU karyuM hatuM. A mulakagiri caDAIothI bacavA mATe saurASTranAM rAjayo dvArA ane potAne maLavApAtra khaMDaNI niyamita rUpe maLatI rahe te mATe te baMnenI vacce (1807-08) vokara karAra thayA hatA. pariNAme saurASTramAMthI mulakagiri caDAIono aMta Avyo. tyArapachI 1820mAM gAyakavADe saurASTramAMthI khaMDaNI ugharAvavAnI sattA briTiza sarakArane ApI detAM tenA vahIvaTa mATe briTiza sarakAre saurASTranA kendramAM Avela rAjakoTamAM briTiza ejansI (koThI)nI sthApanA karI hatI. Ama, briTiza sarakAra to kharekhara gAyakavADa vatI kara ugharAvanAra ejansI hatI, paraMtu teo ja have saurASTranA rAjyonA sIdhA saMparkamAM rahyA. pariNAme saurASTranAM rAjayo briTiza sarakArane ja sArvabhauma sattA mAnavA lAgyA. potAnI A sarvocca sattAno saurASTranAM rAjyo ke gAyakavADe paNa koI virodha na karatAM 1820thI laIne cheka 1947mAM AjhAdI maLI tyAM sudhInA 127 varSa daramiyAna saurASTra upara briTiza sattA rahI. A 127 varSanA briTiza zAsana daramiyAna tenI kAmagIrInI saurASTranA pradezamAM vividha kSetre asaro paDI hatI. te atyaMta noMdhapAtra ane asarakAraka hatI. tene nIce pramANenA vibhAgomAM saMkalita rIte raju karI zakAya : (a) rAjakIya : rAjakIya dRSTie saurASTra upara briTiza zAsananI ghaNI vyApaka asara thaI hatI. 19mI sadInA prAraMbhe aMdhAdhUMdhI ane arAjakatAthI gherAyela saurASTramAMthI azAMtino aMta Avyo ane saurASTramAM zAMti ane vyavasthAnA yuganA prathama kiraNa paDyAM.' vaLI rAjakoTamAM ejansI sthapAyA pachI 127 varSa sudhI saurASTramAMthI moTA bhAge yuddhono aMta Avyo ane tethI sukha ane zAMti sthapAyAM. saurASTra uparanI sarvocca sattA have gAyakavADanA badale briTiza zAsana bhogavavA lAgyuM hatuM. tethI 222 rAjayo dharAvatA A vizALa pradeza upara potAnI sattA sthira ane sudaDha karavA mATe jarUrI evuM kuzaLa vahIvaTataMtra temaNe sthApyuM hatuM. tenA vaDA tarIke poliTikala ejanTanI nimaNUka karavAmAM AvI hatI, ane tenI madada mATe cAra AsisTaMTa poliTikala ejanTa nimAyA hatA. A adhikArIoe briTiza hiMdanA pradezonA vahIvaTanA dhoraNe vahIvaTa calAvavAnuM zarU karyuM hatuM. pariNAme saurASTranA keTalAMka moTAM, mahattvanA ane udAravAdI rAjyoe paNa * esosiyeTa prophesara, itihAsa anusnAtaka bhavana, saurASTrayunivarsiTI, rAjakoTa + saurASTra kaccha itihAsa pariSadanA adhivezanamAM A risarca peparane rIpyacaMdra enAyata thayela che. varSa 2007-2008. briTiza zAsananI saurASTra para paDela asaro 137 For Private and Personal Use Only

Page #141
potAnA vahIvaTataMtrane uparokta dhoraNe vyavasthita karavAnuM zarU karyuM hatuM. Ama, briTiza zAsananI asara heThaLa saurASTranA rAjyonA vahIvaTItaMtramAM paNa AdhunikatA AvavA lAgI hatI. koI paNa rAjyanA vahIvaTItaMtranuM mUlyAMkana tenAM nyAyataMtra uparathI karI zakAya. vaLI tene rAjyanI prajApriyatAnI pArAzIzI paNa gaNAvI zakAya. nyAya niSpakSa ane jhaDapI hoya to prajAmAM te zAsana priya banI rahe che. briTiza zAsane saurASTranA tatkAlIna rAjayonuM temanI nyAyAyika sattAonA AdhAre sAta vargomAM vargIkaraNa karyuM hatuM. A vargIkaraNa temane maLelI phojadArI ane dIvAnI sattAne AdhAre karAyuM hatuM. te 1863mAM karnala kaTiMge karyuM hatuM. vaLI saurASTramAM rAjasthAnika korTa 1873mAM rAjakoTamAM sthapAI hatI. temAM thatI jAya kArya praNAlInI asara paNa saurASTranAM rAjayonI nyAya paddhati upara paNa thaI hatI. keTalAMka rAjayoe to tenI asara heThaLa briTiza hindamAM pravartatA dIvAnI ane phojadArI dhArAone keTalAMka pheraphAra sAthe potAnA rAjayamAM svIkAryA hatA ane keTalAMka rAjaye potAnA kAyadAsaMgraha paNa bahAra pADyA hatA. Ama briTiza zAsananI asara heThaLa svataMtratA sudhI saurASTranA rAjayonA vahIvaTItaMtranuM AdhunikIkaraNa thayuM hatuM, ema kahI zakAya. saurASTranAM rAjayonuM AdhunikIkaraNa karavAmAM aneka mahatvanA paribaLoe bhAga bhajavyo hato. saurASTranAM rAjyo potAnA AMtarika vahIvaTamAM to svataMtra hatA ane briTiza sattA sAmAnya rIte temAM dakhalagIrI karatI nahIM, paraMtu rAjyamAM geravahIvaTa, avyavasthA ke rAjAnI sagIrAvasthA daramiyAna briTiza sattA temAM dakhalagIrI karI tyAM briTiza maeNnejamenTa paNa besADatuM. dA.ta. bhAvanagaramAM takhtasiMhajI ane kRSNakumArasiMhajInI sagIrAvasthA daramiyAna, rAjakoTamAM bAvAjIrAja ane lAkhAjIrAjanI, goMDalamAM bhagavatasiMhajInI, morabImAM vAghajInI, dhrAMgadhrAmAM mayuradhvajasiMhajInI, porabaMdaramAM bhojarAjInI ane naTavarasiMhajInI, pAlItANAmAM bahAdurasiMhajI ane vAMkAneranA amarasiMhajI, vaDhavANanA rAyasiMhajI, jAmanagaranA jazavaMtasiMhajI ane jUnAgaDhanA navAba mahobatakhAnajI-3nI sagIrAvasthA daramiyAna tyAM briTiza maeNnejamenTa sthapAyuM hatuM. A briTiza maeNnejamenTane pariNAme rAjayonA vahIvaTamAM briTiza hinda jevuM zAsana sthapAyuM hatuM. prajA kalyANanI aneka pravRttio karavAmAM AvI hatI. to vaLI avyavasthA ke geravyavasthA samaye kAmacalAu rIte sattA potAnA hAthamAM laIne tyAM ""kAyadAnuM rAjaya" sthApyuM hatuM. rAjayamAM avyavasthA UbhI karavAmAM potAne thayelA anyAyano badalo levA mATe thayelA bahAravaTAMne paNa javAbadAra gaNAvI zakAya. dA.ta. bhAvanagara rAjayanI sAme khAcara, khumANanAM bahAravaTAM, okhAmaMDaLamAM gAyakavADanI sAme vAgheronAM bahAravaTAM, jUnAgaDhamAM bAvAvALA, maiyAo ane kAdu makarANInAM bahAravaTAM, mALiyA miyANAmAM vAlo nAmorInuM bahAravaTuM vagere prasaMgoe niSphaLa nivaDelAM rAjyone briTiza sattAe madada karI che te rAjayamAMthI avyavasthA dUra karI hatI, ane prajAne zAMti maLI rahe tevI goThavaNa karI hatI. Ama, rAjayamAM suvyavasthA sthApavAmAM paNa briTiza asara thaI hatI. I.sa. 1870mAM rAjakoTamAM briTiza sattAe rAjakumAra kaoNlejanI sthApanA karI hatI. prAraMbhe te ""kiMga kaoNleja" tarIke oLakhAtI hatI. temAM saurASTranA aneka bhAvi rAjavIoe abhyAsa karIne pote rAjakata banyA tyAre potAnA rAjyanuM AdhunikIkaraNa karyuM hatuM. Ama, rAjakumAra kaoNleja saurASTramAM temAM bhaNelA rAjavIone Adhunika vahIvaTa karavAnI dRSTi ApI hatI. rAjakumAra kolejamAM aneka viSayonA abhyAsanI sAthe lazkarI tAlIma paNa ApavAmAM AvatI hatI. pariNAme tyAM bhaNelAM rAjavIoe potAnA rAjayamAM nAnuM paNa Adhunika paddhatinuM lazkara saMgaThita karyuM hatuM. ahIM bhaNelAM rAjakuMvaro evAM jAmanagaranA mahArAjA raNajItasiMhajI, vIrapuranA kumAra mULarAja e vAMkAneranA 138 sAmIpya : pu. 25, aMka 3-4, okTo. 2008 - mArca, 2009 For Private and Personal Use Only

Page #142
amarasiMhajIe 1914-15mAM phrAMsanA morace, hiMmatasiMhajIe 1917-18mAM mesopoTemiyAmAM ane bhAvanagaranA kaeNpTana jorAvarasiMhajIe ijipta morace briTiza lazkaramAM sevA bajAvI hatI. jAmanagaranA raNajItasiMhajI to pachIthI lIga oNpha nezansamAM paNa bhArata taraphathI gayA hatA. tenuM kAraNa temaNe meLaveluM Adhunika pAzcAtya zikSaNa gaNAvI zakAya. 1820 pUrve saurASTrano pradeza pArasparika yuddhothI kharaDAyelo hato. tene kAraNe prajApIDanamAM vRddhi thatI hatI, ane Arthika rIte rAjayano vikAsa rUMdhAI jato hato. tene dhyAnamAM rAkhIne briTiza sattAe saurASTranA rAjyonA pArasparika jhaghaDAone zAMtithI ukelavAmAM madhyasthI karIne kAyamI zAMti sthApavAnA kSetre asarakAraka kAmagIrI bajAvI hatI. dA.ta. kaccha ane morabI rAjya vacce aghoI mahAla aMge, jUnAgaDha ane mAMgaroLa vacce tathA jUnAgaDhanA navAba mahobatakhAna 2jAnA zAsanakALamAM jetapura, porabaMdara, bhAvanagara, goMDala, jApharAbAda ane mAMgaroLa rAjya sAthe sarahadanA mam gAmo aMge hakUmatano vivAda hato. to vaDodarA ane jUnAgaDha rAjya vacce somanAtha ane gIranI sarahada aMge vivAda hato. te badhAmAM briTiza ejansIe madhyasthI karIne kuzaLatApUrvaka A praznano ukela ANyo hato. Ama, A rAjyomAM kAyamI zAMti sthApavAmAM briTiza zAsananI vidhAyaka asara jovA maLe che. saurASTranA rAjadarabAronI bhavyatA upara paNa briTiza zAsananI asara jovA maLe che. briTiza amaladAronI hAjarImAM yojAtA A darabAro tenI sAkSI pUre che. rAjAone apAtA K.C.S.E. ane K.C.S.I., G.C.S.E. ane G.C.S.I., M.B.E. jevAM birudo briTiza sattA taraphathI temane ApIne rAjAnA rAjyAbhiSeka samaye briTiza pratinidhi hAjara raheto ane rAjAne abhinaMdana ApatuM bhASaNa karato. pachIthI mijabAnI, saraghasa, AtazabAjI, rozanI jevAM kAryakramo paNa thatA. briTiza hiMdamAM 1885mAM rASTrIya mahAsabhAnI sthApanAne kAraNe hiMdamAM rASTrIya cetanAno saMcAra thayo hato, paraMtu saurASTranA dezI rAjyone to zrI u. na. Dhebare '"damAma, zoSaNa ane khaTapaTanI khANa gaNAvyAM hatAM.'5 saurASTranAM moTAbhAganAM rAjyoe prajAne zAsanamAM bhAga levAno hakka Apyo na hato. briTiza zAsananI A rAjyomAM rASTrIya caLavaLa aMge nakArAtmaka asara thaI hatI, kAraNa ke te caLavaLane rAjAo khaphA najare jotA hatA. vaLI briTiza zAsana tene potAnA svArthavaza saurASTranA rAjAone temanA A valaNa bAbata samarthana ApatA hatA. tethI ja 1889mAM muMbaInI briTiza sarakAre dezI rAjyone prajAkIya caLavaLa sAthe koI paNa prakArano saMbaMdha na rAkhavA ane koI paNa prakArano phALo na ApavA jaNAvyuM hatuM.. tema chatAM briTiza hindamAM yojAyelA rASTrIya mahAsabhAnA adhivezano ane kAThiyAvADa rAjakIya pariSadanA adhivezano, temanA netAo ane kAryakaronA athAga prayatnone pariNAme prajAmAM rASTrIya jAgRti vikAsa pAmI hatI. (ba) sAmAjika : briTiza zAsananI mAtra rAjakIya kSetre ja nahIM paNa sAmAjika kSetre paNa vyApaka asara thaI hatI. tatkAlIna samAjamAM bALakIne dUdhapItI karavAnI prathA, bALalagna prathA, satIprathA, vidhavA vivAha, bahupatnI prathA jevAM kurivAjo, vahemo ane aMdhazraddhA pracalita hatAM. 19mI sadI e bhAratamAM sudhArAnI sadI gaNAya che. A samayamAM navA pravAhonI zarUAta ane te ghaTanAo pratye pratisAda vadhAre AviSkAra pAmyA. pAzcAtya dezono saMparka tathA pAzcacAtya sAhitya ane vijJAnanA pariNAme bhAratano samAja sudhArA ane parivartana tarapha AgekUca karI rahyo hato. saurASTramAM briTiza zAsananI sthApanAne pariNAme mAnavIya sudhArAo karavAnuM vAtAvaraNa sarjAyuM hatuM. briTiza amaladAro evAM vilobI, leMga, mAleTa vageree saurASTranAM rajapUtomAM khAsa karIne jADejA, jeThavA ane sumarAomAM briTiza zAsananI saurASTra para paDela asaro For Private and Personal Use Only 139

Page #143
Shri Mahavir Jain Aradhana Kendra pravartatA dIkarIne dUdhapItI karavAnA rivAjane nAbUda karavAmAM mahattvano bhAga bhajavyo hato. te mATe A rAjavIo pAsethI dIkarIone jIvatI rAkhI tenuM pAlana poSaNa karavAnuM ane InAma ApavAnuM temaja garIba rajapUta kuTuMbanI dIkarIone lagna prasaMge Arthika madada karavAnuM briTiza sattAe zarU karyuM hatuM. pariNAme 19mI sadInA pUrvArdhanA aMte A amAnavIya prathAno samAdhAna, lAlaca ane daMDanIya pagalAM dvArA aMta lAvavAmAM Avyo hato.10 uparokta briTiza amaladAro uparAMta bhAvanagaranA dIvAna gagA ojhA, jUnAgaDhanA dIvAna raNachoDajI ane gokuLajI jhAlA, sudhAraka maNizaMkara kikANI ane karasanadAsa mULajI vagerenA prayAsone kAraNe dIkarIne dUdhapItI karavAnI prathA, anya vahemo ane sAmAjika aniSTo dUra karavAmAM saphaLatA maLI hatI. bALavivAha, satIprathA, vidhavAvivAha, bahupatnIprathA, jugAra, vezyAvRtti, madirApAna jevAM dUSaNomAM kamI AvI. dUSaNo dUra thatAM samAja sAmAjika rIte svastha banyo. AMtarajJAtIya bhojana ane lagno te samaye svIkArya na hatAM. paNa pAzcAtya asara heThaLa apavAda rUpe paNa te zarU thayAM hatAM. keTalAMka pAzcAtya zikSaNa pAmelAM prajAjano paNa pAzcAtya pozAka jevAM ke paeNnTa, phoTa, heTa, bUTa vagere dhAraNa karavA lAgyA hatA. strIo paNa have zikSikA ke narsa tarIke kAma karatI thaI hatI. www.kobatirth.org saurASTramAM tatkAlIna samAjamAM dariyApAra pravAsa uparansAmAjika rIte nAkhuzI pravartatI hatI paNa tema chatAM gAMdhIjI sahitanA aneka yuvAno paradezamAM abhyAsa karavA gayA hatA. temAM paNa saurASTranA rAjavIo pote Adhunika zikSaNa meLavavA athavA pravAsa karavA iMglaeNnDa ke yuropa jatA hatA. pariNAme pAzcAtya duniyAmAM joyela Adhunika samAjavyavasthA ane vividha kSetre thayelAM sudhArAo joIne temaNe svadeza parata pharIne potAnA rAjyamAM paNa tevAM prakAranA sudhArAo karI potAnA rAjyane Adhunika banAvavAno prayAsa karyo ane jANe ke te kAma karavAmAM rAjAo vacce eka prakAranI harIphAI thavA lAgI. rAjavIoe potAnI rAjadhAnI ke anya mukhya zaherone svaccha ane sughaDa rAkhavA pAkA rastAo vRkSAropaNa karyA, bagIcA tathA anya AnaMda-pramodanA sthaLonuM nirmANa karyuM. rAjadhAnInA sauMdaryAkaraNanA prayatno karyAM, te pAzcAtya asara darzAve che. keTalAMka rAjavIoe potAnA rAjadhAnInA zahe2mAM rAjya dvArA nakkI karelI DijhAInanA makAna ja bAMdhavAnI paddhati dAkhala karI hatI. tenAM pariNAme jAmanagara ane morabInuM sauMdarthIkaraNa thatAM te saurASTranA perisa tarIke khyAti pAmyAM. Arogya kSetre Adhunika sagavaDovALI paNa pAzcAtya paddhatinI haoNspiTalomAM saurASTranAM moTAM, mahattvanA ane salAmI rAjyomAM ane ejansInA vaDAmathaka evA rAjakoTamAM paNa sthapAI. e rIte prajAnI sukhAkArInA prayatno ane tenAM ArogyanuM ciMtana e briTiza zAsananI asara gaNAvI zakAya. 140 (ka) Arthika : saurASTramAM briTiza zAsanane pagale zAMti ane salAmatI sthapAtA tenAM Arthika vikAse paNa vega pakaDyo ane rAjya potAnI vadhelI AvakamAMthI prajAkalyANanI pravRttione vega ApavA lAgyuM. Ama, briTiza zAsananA parokSa pariNAme saurASTramAM vikAsavAdI nItino prAraMbha thayo ane zaherIkaraNa vegavaMtuM banyuM. 1872mAM saurASTranI zaherI vastInI TakAvArI saMpUrNa bhAratanI TakAvArI karatAM bamaNI thaI gaI hatI. je 1941 sudhI cAlu rahI hatI. te nIcenA cArTa uparathI joI zakAya che.12 varSa bhArata-zaherI vastInI TakAvArI saurASTra-zaherI vastInI TakAvArI 1901 11 26 1911 1921 10 11 23 Acharya Shri Kailassagarsuri Gyanmandir 24 1931 12 For Private and Personal Use Only 25 1941 14 28 sAmIpya : pu. 25, aMka 3-4, okTo. 2008 mArca, 2009 -

Page #144
zaherIkaraNanA pagale rAjayonuM AdhunikIkaraNa thayuM. Arthika samRddhi AvatAM keTalAMka rAjayoe kApaDamila, simenTanuM kArakhAnuM, koTana jIna, dIvAsaLInuM kArakhAnuM, vUlanamila jevAM udyogo pota-potAnA rAjayamAM sthApyAM hatAM. temAM mukhyatve jAmanagara, bhAvanagara, morabI, porabaMdara, rAjakoTa, dhrAMgadhrA vagere rAjayo agresara hatA. temAM bhAvanagarI jahA~gIra vakIla ane mahAlakSmI kApaDamila ane mAsTara silka milsa, rAjakoTanI sarakArI kApaDamila, aneka zaheronAM koTana jIna, porabaMdaranI mahArANA mila, jAmanagaranI digvijaya vUlana mila, dhrAMgadhrA kemikala varkasa, varateja kemikala varkasa, bhAratanuM prathama simenTanuM kArakhAnuM 1913mAM porabaMdaramAM ane bIjuM 1922 mAM dvArakAmAM nakhAyuM tene mukhya gaNAvI zakAya. paradezI (videzI) kaMpanIoe paNa saurASTramAM udyoga sthApavAmAM rasa darzAvyo hato. keTalAMka rAjayoe bhAratanI napho karatI moTI kaMpanIonA zeromAM rokANa karyuM hatuM, ane ema potAnA rAjyanI Arthika sthiti sudhArI hatI. tethI ja jUnAgaDha rAjaye 1947mAM morabI pAse lonanI mAgaNI karI tyAre tene morabIe 50 lAkha rUpiyAnI lona e zarate ApavAnI taiyArI darzAvelI ke te bhAratamAM bhaLI jAya. paraMtu te zarata junAgaDha rAjayane svIkArya na hatI. A bAbata ja morabI rAjyanI Arthika sadhdharatA pragaTa kare che. (Da) AvAgamana ane saMdezAvyavahAra : saurASTramAM zaherIkaraNa, audyogikaraNa ane AdhunikIkaraNane pariNAme mAla ane mANasonI jhaDapI heraphera jarUrI banI. 1865 sudhI saurASTramAM pAkA rastAo na hatA. tethI AvAgamana mATe 1865mAM sauprathama tatkAlIna poliTikala ejanTa karnala kaTiMge te tarapha dhyAna ApyuM ane rAjakoTathI vaDhavANa sudhIno rasto briTiza ejansInI pahelathI nirmANa pAmyo. pariNAme 1880 sudhImAM saurASTramAM 892 kimI.nA rastA baMdhAI gayA. pachIthI je.bI.pIlanA zAsanakALa heThaLa (1874-78) "TUMka roDa phaMDa" UbhuM karavAmAM AvyuM hatuM. paraMtu 1880mAM relavenuM bAMdhakAma zarU karAtAM rastAo bAMdhavAnuM kAma dhImuM ke baMdha paDI gayuM. saurASTramAM sauprathama relave lAina bhAvanagara rAjya 1880mAM zarU karI hatI. te bhAvanagara-goMDala relave lAIna tarIke oLakhAtI hatI. tenA bAMdhakAmamAM 86 lAkha vaparAyAM hatAM. temAMthI bhAvanagaranA 66.6 TakA ane goMDalanA 33.3 TakA hatA. 1882mAM relavenI mUDI upara 4.64 TakAno napho maLyo hato. tyArapachI jUnAgaDha, jAmanagara, morabI, porabaMdara vagere rAjyoe paNa relve bAMdhakAma kSetre jhukAvyuM hatuM. 1947 sudhImAM saurASTramAM kula 2235 kimI.no relve lAIno naMkhAI hatI. 15 baMdaro ane havAIpaTTIono paNa vikAsa thayo hato. A badhAmAM briTiza ejansInA ijanerono sakriya sAtha ane sahakAra maLyo hato. temAM paNa ejansInA ijanera mi. bUthano phALo noMdhapAtra hato. tAra ane TeliphonanI lAinonI zarUAta ane posTa oNphisono vikAsa karavAmAM Avyo hato. TeliphonanI sauprathama sagavaDa morabI rAjayamAM tyAMnA rAjavI vAghajIe 1880-81mAM karI hatI. sauprathama so lAinanuM Teliphona ekSacenja 1920 mAM jAmanagaramAM nakhAyuM hatuM. sauthI moTuM svayaMsaMcAlita Teliphona ekSacenja bhAvanagaramAM 1935-36mAM zarU thayuM hatuM." rAjakoTa, morabI jevAM rAjyoe TrAma sevA paNa zarU karelI je bahu lAMbI cAlI na hatI. 19mI sadInA prAraMbhe saurASTramAM briTiza sattAnI sthApanA pachI IsTa inDiyA kaMpanInA sikkA bahu pracalana pAmyAM na hatAM. tyAre saurASTramAM mukhyatve jAmazAhI, dIvAnazAhI ane rANAzAhI korI pracalita hatI. paraMtu pachIthI briTiza sarakAre je te rAjyane tenuM korInuM calaNa baMdha karI briTiza sikkAonuM calaNa zarU karAvatAM ane korI chApavAnuM baMdha karAvatAM briTiza calaNa saurASTramAM dAkhala thayuM hatuM. tethI pAI, paiso, Ano, be AnI, pAvalI, ATha AnI ane rUpiyAnA sikkA dAkhala thayAM hatAM. Ama, saMpUrNa saurASTramAM calaNanI ekarUpatA dAkhala thaI hatI. tenAthI vepAra ane vANijyane uttejana maLyuM hatuM. briTiza zAsananI saurASTra para paDela asaro 141 For Private and Personal Use Only

Page #145
(I) sAMskRtika briTiza sarakAranI sauthI vadhu asara sAMskRtika kSetre zikSaNamAM jovA maLe che. saurASTramAM pAzcAtya zikSaNano prAraMbha karAvanAra briTiza zAsana hatuM. rAjakoTamAM 1837mAM sauprathama gujarAtI zALA sthapAI. pachIthI saurASTramAM 1846mAM karnala mAleTe Adhunika zikSaNa paddhatino pAyo nAkhyo. 1855mAM karnala leMge potAnA kharce rAjakoTamAM kanyA zALA kholI ane saurASTramAM kanyA keLavaNIno pAyo nAkhyo. 19mI sadInA aMta sudhImAM saurASTramAM 900 zALAo sthapAI gaI hatI. zikSaNanA vikAsanA A kAryamAM briTiza sarakArane jAmanagara, jUnAgaDha, dhrAMgadhrA, bhAvanagara, vaDodarA vagere rAjyono Teko maLyo hato. zALAonI saMkhyA vadhatAM tAlIma pAmelAM zikSako meLavavA 1867mAM puruSo mATenI haMTara TreniMga kaoNleja ane 1885mAM mahilAo mATe bArTana TreniMga kaoNleja zarU karAI hatI. 1853mAM rAjakoTa iMgliza skUla sthapAI hatI. je pachIthI iMglenDanI mahArANI vikaToriyAnA bIjA naMbaranA putra AlphaDanI bhArata mulAkAtanI smRtimAM AphreDa hAIskUlanA nAmathI prasiddha thaI hatI. tevI ja rIte bhAvanagara tathA anya moTAM zaheromAM paNa AphreDanA nAmathI hAIskUlo sthapAI hatI. temAM gAMdhIjI jevAM aneka mahAnubhAvoe abhyAsa karyo hato. te saurASTranAM jAherajIvananA aneka agraNIonI mAtRsaMsthA banI hatI. aneka rAjapuraSo, vahIvaTakAro, udyogakAro, arthazAstrIo, sAhityakAro, zikSaNazAstrIo, kalAkAro jevA mahAnubhAvonuM A saMsthAe ghaDatara karyuM hatuM.' 1870mAM rAjakoTamAM rAjakumAra kolejanI sthApanA e saurASTramAM zikSaNanA vikAsanA kSetre eka sImA cihna gaNAya che. temAM bhaNelAM rAjavIoe potapotAnA rAjyamAM vividha kSetramAM sudhArA karyA hatA. e rIte A saMsthAe saurASTramAM sarvAgI parivartananA bIja vAvyAM hatAM. A kaoNleja e saurASTramAM vividha kSetre sudhArAnuM mazAlacI banyuM. saurASTranA Adhunika samAjanA ghaDataramAM tenuM yogadAna ghaNuM mahattvanuM gaNAvI zakAya. ucca zikSaNanA kSetre paNa saurASTramAM bhAvanagaramAM 1885mAM zAmaLadAsa kaoNleja, jUnAgaDhamAM 18971900 mAM bahAuddIna kaoNleja ane rAjakoTamAM 1937mAM dharmendrasiMhajI kaoNleja sthapAI. pAzcAtya DhabanA ucca zikSaNanI A saMsthAoe briTiza ejansI temaja aneka rAjyone ucca amaladAra, dIvAna, kArabhArI, nyAyAdhIza, vahIvaTadAra jevAM mahattvanA amaladAro pUrA pADyA hatA. leMga lAibrerI ane vaoNTsana myujhiyama, bArTana myujhiyama, jUnAgaDha myujhiyama vagere paNa briTiza zAsananA prabhAva heThaLa sthapAyAM hatAM. aneka rAjayomAM mahelo, zALAo ke kaoNlejonA makAno baMdhAyA hatA. temAMnAM ghaNAM pAzcAtya paddhatinI gothika zailInA sthApatyanA uttama namUnA gaNAvI zakAya. temAM vaoNTasana myujhiyama, AphreDa hAIskUla, rAjakumAra koleja, zAmaLadAsa kaoNleja, bahAudIna koleja, keneDI phAunTena vagere sthApatyono samAveza karI zakAya. vaoNTasana myujhiyamamAM ane morabImAM maNimaMdira sAme Avela rANI vikToriyAnA ArasanA bAvalAM ke bIjA rAjayomAM anya briTiza amaladAronA bAvalAM saurASTramAM Thera Thera mukAyA hatAM, je pAzcAtya zilpakaLAnA uttama namUnA gaNAya che. Ama, sAMskRtika kSetre paNa temanI asara prabhAvaka rahI hatI. TUMkamAM, ema kahI zakAya ke 1820 thI 1947nAM 127 varSanA gALAmAM saurASTramAM briTiza zAsana daramiyAna yuddhono aMta Avyo hato, zAMti ane salAmatI sthapAyAM hatA, ane pariNAme saurASTranA pradezamAM mAtra vahIvaTI kSetre ja nahIM, paraMtu sAmAjika, Arthika, zaikSaNika ane sAMskRtika kSetre paNa vyApaka ane dUrogAmI asaro thaI hatI. teNe rAjya ane samAjanA pratyeka aMga upara pratyakSa ke parokSa prabhAva pADyo je sAmAnyataH saurASTra mATe rahyo. Ama, svataMtratA pahelAMnA saurASTranAM AdhunikIkaraNanA pAyAmAM briTiza zAsanano prabhAva jovA maLe che. 142 sAmIpya : pu. 25, aMka 3-4, okTo. 2008 - mArca, 2009 For Private and Personal Use Only

Page #146
saMdarbho 1. jAnI, esa.vI.-''saurASTrano itihAsa'', amadAvAda, 2003, pR. 109 2. ejana, pR. 313 3. ejana, pR. 130 4. Chudgar P.L.-Indian Princes Under British Protection-London, 1925-p. 14-15 5. Dhebara, u.na.-'darabAra gopALadAsa''-mubaI, 1974, pR.6 6. 7. Jaffery, Robin (Ed.) People, Princes and Paramount Power, New Delhi, 1978, p. 241 Source Material for History of Freedom Movement in India-Vol. II, Bombay, 95-97 8. desAI, nIrA a.- ''gujarAtamAM 19mI sadImAM sAmAjika parivartana", amadAvAda, 1983, prastAvanA Acharya Shri Kailassagarsuri Gyanmandir pR.4. 9. jAnI, esa.vI., ''19mI sadImAM saurASTramAM sAmAjika sudhArAnuM AMdolana', sAmIpya, amadAvAda, oNkTo. 1993, mArca 94, pR. 162 10. jAnI, esa.vI.-pUrvokta graMtha-saurASTrano itihAsa, pR. 339 11. mANeka, kalpAno lekha - ''morabInuM zaherIkaraNa ane AdhunikIkaraNa', pazcima bhAratanA dezI rAjyomAM zaherIkaraNa ane AdhunikIkaraNa, bhAvanagara, 2001, pR.55 12. Census of India, Reports of Concerned Years. 13. jAnI, esa.vI., pUrvokta graMtha, sau.i., pR. 563 14. vaoNTasana je. Dabalyu (mULa lekhaka) anuvAda-dave, narmadAzaMkara-kAThiyAvADa sarvasaMgraha - muMbaI, 1886, pR. 172 73 briTiza zAsananI saurASTra para paDela asaro 15. ''saurASTranI relvenA be varSanA kAryano paricaya', rAjakoTa, 1950, pR. 17-18, gAMdhInagara, 1989 16. ''bhAvanagara jillA sarvasaMgraha', gAMdhInagara, 1989, pR. 361 17. 'phUlachAba gauravagAthA vizeSAMka', rAjakoTa, 1996, pR. 253 18. jAnI, esa.vI., pUrvokta, sau.I., pR. 393-394 For Private and Personal Use Only 143

Page #147
graMthasamIkSA : 'Steps of Indology' By Dr. Ramjibhai Savalia, Publish, B.J. Institute of learning. & Research, H.K. College Campus, Ashram Road, Ahmedabad-9. First Edition 2009, Price: 200-00 It was K.M. Munshi, the founder of the world-renowned Bharatiya Vidya Bhavan, who first used the word 'Asmita', that is, Gujarat's pride and identity. It is in keeping with this spirit of Munshi that Dr. Ramjibhai Savalia has recently come out with the publication "Steps of Indology" wherein he has glorified the history and culture of Gujarat. Gujarat's identity is manifested in a variety of ways-its business culture, phailianthropic activities, and Mahatma Gandhi's activities during the freedom struggle. Gujarat's identity is also expressed through its magnificent Art and Architecture, maritime activities and the spirit of co-operation and religious tolerance. The author has developed this theme which indicates both his intense involvement and professional skills as a cultural historian of Gujarat. Currently the acting Director of the famous B.J. Institute of learning and Reserch, he has studied the basic sources required for the study of different aspets of the Gujarat culture and civilization. The book starts with the Art-Heritage of the ancient colonizers of Gujarat, followed by a chapter on the "Proto-historic Urban settlement of Kaccha-Dholavira." The starting point is the great Harappan culture which was expressed 5000 years ago through the maritime and other activities in the Lothal and Dholavira Culture. The author states that the ancient Gujaratis believed in the value associated with trade and commerce. They were not political but cultural colonizers. To communicate with the readers Dr. Savalia has provided a useful map showing principal sites explored and excavated since independence. This map along with the discription of Art and Architecture of Dholavira and other sites of Gujarat becames very lively. The Harrapan civilization which developed in Gujarat was, thus, the product of a variety of factors-agricultural prosperity, wise rulers, artisans and artists, merchants and navigators. In those days Gujarat traded in the far off oversees regions including Mesopotamia and Babylonia which covers the present Iraq. The author concludes his first. chapter with the following words: "Other than these, numerous archaeological remains showing the artistic attitude of the ancient colonizers have been found during the major and minor excavations made in Gujarat, which is studied profoundly. We get the glimpse of the artistic richness of our ancient people. The ancient colonizers of India and Gujarat could be seen as exhibiting their fondness for art through various mediums. Through the various shapes and types of the vessels, the paintings on them, various ornaments made from materials for decorating the body, the idols and sculptures, the figures of beasts and birds, one gets the glimpse of the heritage of the art of the ancient colonizers found during the major and minor excavations made in Gujarat." 144 sAmIpya : pu. 25, aMka 3-4, okTo. 2008 mArca, 2009 For Private and Personal Use Only --

Page #148
The description of 'A Proto-Historic urban settlement of Kuccha-Dholavira' is also presented in the beautiful language linking maritime activity with the Artistic activities. The author points out: "From the other archaeological remains obtained from the excavation here, it seems that this civilization was not merely a centre of trade, but was the one developed in the handicraft, too. Numerous things made from copper, bronze, stone, conch, gold and agate that have been obtained here prove the mastery in the art of the handicraft. The archeological remains such as the sharp-ended weapons like the spears or the arrows, and the clay utensils of various shapes and colors, the bangles of conch and metal, the pearls, beads, the golden ornaments, the kiln for melting the metal, the weight and measures etc., have been obtained in profuse proportion. A circular ring of an oyster shell obtained from here is noteworthy in that twelve vertical cuts have been carved in it. It is inferred that its use may have been for suggesting the directions, or it represents the twelve signs, or the measuring rod, or the zodiac. Acharya Shri Kailassagarsuri Gyanmandir Chapter three describes 'The Antiquity of the prevalence of sakti worship in Gujarat'. The images of the Goddesses are carved in such a style that they also express the folk art and folk culture. For instance the temple constructed during the Maitraka period (470-788 A.D.). In course of time the sakta sect flourished in Gujarat. This is attested to by the Tanstric images of Navanidhi laksmi. The author has also provided the rare photographs and munuscripts some of which are still preserved in the B.J. Institute. The chapters like 'The Dwarf (Kicaka) Sculpture of Gujarat' and 'The Saivite and the Saktaite images at Patan' narrate the Cultural Heritage of Gujarat. This account is followed by the medieval period and its cultural activities. After the 18th century many of the temples here were renovated, and the step-well known as Barot ni Vava, was built. Patan was then the remote headquarters of the Gaikwar of Baroda; Damajirao Gaikwar had built the castle for the Protection of New Patan. graMthasamIkSA As the title of the book shows, it contains an important chapter 'Some Unique Step wells and Tanks of Gujarat and Rajasthan.' The author describes the principle and practice of step wells and states that the step wells provided water for drinking, irrigation, washing and bathing. As a meeting place there were seperate areas designated for men and women to the bath. Women collected water for their households. This provided an important opporunity to socialise and exchange news beyond their home. The author thus links the architectural styles with the socio-cultural and economic life of Gujarat. The author describes several Step-wells and Tanks of Gujarat Rani-ni-vava, Rudabai's vava, Bai Hari's vava, Sakti kunda, Surya kunda, Brahma kunda and Raniji ki Baori, Neemrana ki Baori panna meena kunda, chand Baori-kunda, in Rajasthan. The photographs of the Step-wells and Tanks capture the real cultural and sociological spirit of ancient and medieval Gujarat and Rajasthan. Dr. Savalia points out that Gujarat breathed the spirit of overseas trade and commerce. The chapter 'Maritime Heritage of Gujarat (1297 CE To 1800 CE.) reflects the maritime cultural activities of Gujarat which were For Private and Personal Use Only - +2 145

Page #149
associated with peace, security of person and property and spirit of tolerance. It also provided the artistic designs of the vessels that traded with foreign countries. The most popular 'Avatar' in the Hindu mythology and history is that of Lord Shri Krsna. People have expressed their love for Lord Krsna through innumerable devotional songs and paintings. The chapter 'Lord Shri Krsna the life Breath of Indian Paintings' provides exciting and eye capturing paintings. The author states: "Art is a faith, and also act of creation. The entire basis of the artistic creativity is spiritual and it is spontaneous. In view of this shri Krsna's life breath Indian Art and Painting." Dr. Savalia has also provided beautiful, eye-capturing pictures of the activities associated with the Krsna cult. The last article provides an authentic account on the 'Illustrated Jain manuscripts preserved in the Bhandaras and the Museums of Gujarat. In short the author has combined scholarship with the rich artistic visuals. For this reason this book is both entertaining and educatite. We hope that this work will attract not only Indian Cultural historians and Scholars but also the international acaedemic community. The author deserves congratulations for his sincere and painstaking research. - Makrand Mehta * * * itihAsa : nokhI najare', lekhaka: hari desAI, prApti sthAna : navabhArata sAhitya maMdira, amadAvAdamuMbaI, kiMmata rUA. 100/-. thoDA divasa para vallabha vidyAnagaramAM zrI hari desAInAM keTalAMka pustako - prakAzanonA lokArpaNano samAraMbha yojAze. temAM ''itihAsa : nokhI najare"mAM svAbhAvika rIte mane savizeSa rasa paDyo. zrI jhaveracaMda meghANI ane zrI cunIlAla va. zAha jevA nAmAMkita patrakAroe dainika-sAptAhika-vartamAnapatrone samakAlIna ghaTanAomAM sImita na rAkhatAM Adhunika jIvanane sparzatA vividha viSayonI rucira chaNAvaTa dvArA vAcakone vicAratA karyA. e paraMparA gujarAtI vartamAnapatromAM adyaparyata vikasatI rahI che. evA samakAlIna patrakAromAM zrI hari desAInuM pradAna gaNanApAtra rahyuM che. "saMdeza", "divyabhAskara' ane "kumAra"mAM pragaTa thayelA emanA saMzodhana-lekhomAMthI cUMTelA 38 lekhono saMpuTa che. A saMgrahamAM lekhake saune sparzatA ItihAsane tathyo tathA taTastha, daSTithI tapAsavAno saMzodhanAtmaka prayAsa karyo che. hAla pazcimanA dezomAM khristI ane islAma dharmanuM varcasa raheluM che. temAM islAmanuM varcasa vadhatuM rahyuM che. bhAratanI prajA rAjakIya dRSTie zatako sudhI gulAma rahevA chatAM hiMduonI bahumatIvALuM rASTra rahyuM che. bhAratanA rASTranAyaka koNa ? bhAratIya prajAno moTo varga zrI mohanadAsa gAMdhIne rASTrapitA tarIke svIkAre che. vartamAna kAlanA agAunA kAlamAM rASTranAyaka tarIke traNa nAma vicAravA pAtra che : rANA pratApa, chatrapati zivAjI ane TIpu sulatAna. A traNa paikI chellAM be koI ne koI UNapanA kAraNe UNAM utare che. jyAre e traNamAM rANA pratApe veThela yAtanAo ane satata jALavela TekanA kAraNe biradAvavA joga che, paraMtu e na bhUlavuM joIe ke rANA pratApa mevADano vIra nAyaka hato, ane rASTranAyaka tarIke biradAvavAmAM atizayokti - doSa Ave. lekhaka ahIM itihAsanI keTalIka avanavI bAbatone prakAzamAM lAve che. dA.ta. mahamUda gajhanInI darabArI 146 sAmIpya : pu. 25, aMka 3-4, okTo. 2008 - mArca, 2009 For Private and Personal Use Only

Page #150
bhASA saMskRta hatI. atyAre itihAsane vikRtapaNe rajU karIne vartamAna rAjakIya AgevAno jyAre rAjakIya roTalA zekavAnI kozizo karatA rahe che, tyAre itihAsane sAcA svarUpe jovAnI ke rajU karavAnI savizeSa jarUriyAta che. pAkistAnamAM hiMduonAM dharmasthAno tathA kuTuMbonuM nirmUlana karavAnI jhuMbeza cAle che. hAla pazcimamAM pAkistAna ane pUrvamAM bAMgalAdezamAM protsAhana pAmatA AtaMkavAdIo bhAratanI zAMti tathA AbAdIne harahaMmeza jokhamAvI rahyA che. e kema bhUlAya? lekhaka A saMdarbhamAM videzI AkramaNakArone tathA zAsakone dezI prajAjanono sAtha maLyA kare che teno aphasosa darzAvI bAdazAha auraMgajhebanA hinduo pratyenA udAra vartAvanA dAkhalA TAMke che. to bhAratamAM aneka nAmAMkita naranArIo svecchAe dharma parivartana karatAM hoya evA dAkhalA TAMke che. lekhaka 'vaMde mAtaram'ne rASTragIta tarIke svIkAravA aMge thayela uhApohanI samIkSA kare che. kamabhAgye ApaNAM baMne rASTragIta vivAdAspada rahyAM che. vartamAna kavio bina-vivAdAspada rASTragIta racI na zake ? aMgrejI zabdakozamAM maLelA cothA bhAganA zabdonuM mULa saMskRtamAM hovAnuM lekhaka jaNAve che. lekhaka cInamAM rAmAyaNa ane mahAbhAratanI lokapriyatA darzAve che. bhAratanAM A virATakAvya mAtra cInamAM ja nahi dakSiNapUrvamAM AvelA aneka dezomAM lokapriya hatAM. zrI hari desAI nepALanI "varjinagoDesa' prathA vize temaja tibeTanI "anekapati prathA' vize rasaprada mAhitI Ape che. TI.vI. cenalamAM "rAvaNa'nI zreNI zarU thaI, temAM rAvaNanA keTalAka saguNa paNa nirUpAyA che. da.bhAratamAM rAvaNanAM maMdira che eTaluM ja nahi, rAjasthAnanA alavaramAM paNa eka maMdira AveluM che. vaDodarAnA rAjA malhArarAva "raMgIlA rAjA' tarIke jANItA hatA, paraMtu emanA anugAmI mahArAjA sayAjIrAva paNa raMgIlA hatA evuM DaoN. sumaMta mahetAnI aprakAzita DAyarIo parathI A lekhaka jAhera kare che. patrakAra A navI vAta prakAzamAM lAvyA che. siMdhamAM brAhmaNa vajIra vacce vidhavA rANI sAthe lagna karI rAjapada prApta karyuM ne enA putra dAhire potAnI sagI bahena sAthe lagna karI samAjamAM UhApoha macAvyo. 1947 mAM dezanA bhAgalA paDyA, tyAre mahAtmA gAMdhIjInI jema vAyavya sarahada prAMtanA bAdazAhakhAne pArAvAra vyathA. anubhavI 'tame amane varuo sAthe pheMkyA" evI asahya vedanA e ThAlavatA. muslima bahumatIvALA turkInA vaDApradhAna mustaphA bulenTe "bhagavadgItA" tathA "gItAMjali'no turkImAM anuvAda karyo hato. gAMdhIjInA brahmacaryanA prayogo e aTapaTo ane vivAdagrasta viSaya rahyo che. gAMdhIjInI hatyAne vakhoDanAra moTo varga che, paraMtu "mI. nathurAma goDase bolatoya' nATakamAM nathurAmanA kRtyane vyAjabI gaNAvyuM che. khalanAyakane ya nAyaka Theravato, eka varga paNa che ! jhINA ane AMbeDakaranI vicArasaraNIo carcAspada rahI che. 'vaMde mAtaram'nuM pharajiyAta gAna ane TIpu sulatAnanI dezabhakti carcAspada viSaya banyA che. zrI hari desAI svAmI vivekAnaMdanA gujarAta sAthenA saMbaMdhonI samIkSA kare che. saradAra paTele seMkaDo rajavADAMnuM ekIkaraNa karyuM, tyAre te pachInA jamAnAmAM telaMgaNa ane vidarbha jevAM aneka nAnakaDAM rAjya phUTI nIkaLe tevA saMjoga paNa thayA che. rAjavI tarIke sAcA lokasevaka banelA darabAra gopALadAsane lekhaka biradAve che. amerikI seneTano zubhAraMbha hindu prArthanA sAthe thayo jyAre somanAtha maMdira jIrNoddhAra aMge aneka hiMdu netAone paMDita naherunI sekyulara nItino sAmano karavo paDelo ! Ama chatAM naherune gaMgA nadInA pavitra jaLa mATe apAra mAna hatuM ! pustakanA aMte zrI hari desAI 1951mAM DaoN. sumaMta mahetAe "ApaNA naitika adya:patananuM nivAraNa zIrSaka heThaLa lakhelA lekhanuM sAradohana karI yathArtha noMdhyuM che ke cha dAyakA pahelAMnI A vAto Ajeya eTalI ja susaMgata nathI ? lekhaka vyavasAye patrakAra che, patrakAra tarIke aneka avanavI vAto zodhatA rahe che ne e vAtone potAnI kaTAromAM potAnI lAkSaNika Dhabe vAcako samakSa rajU kare che. itihAsane sparzatA A rasaprada lekhomAMya teo keTakeTalA avanavA viSayone AvarI le che. emAMnI keTalIya ghaTanAone potAnI rIte rajU kare che. mAtra kalpanAo graMthasamIkSA 147 For Private and Personal Use Only

Page #151
ke 'sTanTa' kare tevI rajUAtothI saMtoSa na mAgatAM, jarUra jaNAya tyAM aneka saMdarbhagraMthono vicAradAra AdhAra TAMke che ne itihAsanI aneka ghaTanAone nokhI najare avalokI evI sacoTa rIte rajU kare che ke enA pravAhamAM taNAI ApaNe paNa emanI vAtone samarthana ApatA thaI jaIe chIe. alabatta keTalIka rUDha mAnyatAo ApaNane e vicArasaraNI visAre pADI detI paNa hoya che. itihAsanI aneka ghaTanAone tathA enI pracalita mAnyatAone nokhI najare avalokana AvI saMsodhanAtmaka rIte rajU karI ApaNA cittane aneka bAbatomAM navesara vicAratA karI mUke tevI zraddheya rajUAta mATe patrakA2 saMzodhanakAra zrI hari desAIne jeTalAM abhinaMdana ApIe eTalAM ochAM che. varSo sudhI muMbaImAM vasavATa karI teo gujarAtamAM AvI vasyA che, tyAre ApaNane A pIDha patrakA2no vadhu lAbha maLe che. DaoN. hariprazAda zAstrI Acharya Shri Kailassagarsuri Gyanmandir saMskRta sAhityamAM vanaspati, lekhaka : bApAlAla ga. vaidya, prakAzaka : gujarAta vidyAsabhA, premAbhAI haoNla, bhadra, amadAvAda, dvitIya AvRtti, 2008, kiMmata rUA. 200-. bhAratIya saMskRtinA jJAnavArasAne akSuNNa rAkhavAnA prayAsane varelI tathA vidyAnA pracAra-prasAra arthe sakriya evI labdhapratiSTha vidyAsaMsthA-gujarAta vidyAsabhA dvArA prakAzita, zrI bApAlAla sI. vaidya dvArA saMpAdita pustaka - ''saMskRta sAhityamAM vanaspati'" eka uttama, AvakArayogya graMtha che. mULa I.sa. 1953mAM, te samayanA vidyAsabhAnA adhyakSa vidvarya zrI rasikalAla parIkhanI preraNAthI lekhakazrIe prasiddha karela A pustakanI A dvitIya AvRtti che, jenuM prakAzana gujarAta sAhitya akAdamI-gAMdhInagaranI Arthika sahAyathI karAyuM che. saMskRta sAhityanuM phalaka to ghaNuM vizALa che ne tethI teno sAghopAMta abhyAsa karavAnuM to muzkela bane, chatAM lekhakazrIe yathAzakya saMskRta sAhityakRtiono abhyAsa karI, temAM prayukta je te vanaspatigata saMdarbhone tAravIne te sarva saMdarbho ahIM akArAdikrame goThavIne rajU karyA che. te rIte, A eka prakArano kozagraMtha banI rahe che. prastuta graMthanuM vaiziSTya e che ke, temAM je te saMdarbhaparaka kevaLa sthULa vigato ke mAhitImAtra ApIne lekhaka aTakI gayA nathI paNa je te vanaspatine maLatA AvatA nirdezo paNa sAthe mUkI ApyA che. vaLI, je te nirdezanA cokkasa arthane tAravavAno ke je te nirdeza sAthe vaNAyela sAMskRtika saMdarbha upasAvavAno tathA je te sAhityasaMdarbhano Achero AsvAda karAvavAnoya lekhakazrIe yathocita prayAsa karyo che. temAMya je te sAhityasaMdarbhanA nirdeza sAthe te saMdarbha aMgeno Ayurvedaparaka upayoga darzAvavAno temano prayAsa to kharekhara stutya che. sAthe sAthe, je te vanaspatinI oLakha suspaSTa rIte Upase e mATe tenAM Adhunika nAma ApavAno ya prayAsa karyo che. 148 graMthanA prAraMbhe (pR. 6 thI 20) lekhake prAstAvikarUpe je keTalIka vigato nirUpI che te dvArA graMthamAM praveza to supere thAya ja che paraMtu te dvArA lekhakanA aMtaramAM paNa sahaja praveza thaI jAya che. temAM lekhakanA jJAnanidhinI jhalaka che, je eka tarapha temaNe AsvAdela sAhityasRSTi prati dorI jAya che, to bIjI tarapha temanA oSadhijJAnane ya ujAgara kare che ane AnI pAchaLa guMjatuM bhAratIya saMskRtinuM gAna vAcakane abhibhUta na kare to ja navAI ! A pachI kula 414 pRSThomAM akArAdikrame 200 thI ya vadhu (kula 222) vanaspatio vize ghaNI sUkSma sAmIpya : pu. 25, aMka 3-4, okTo. 2008 - mArca, 2009 For Private and Personal Use Only

Page #152
mAhitI pUrI pADavAmAM AvI che. temAM sva, vamana, varavIra, hiMgu, kanda, vetI, vampa, parivAra, malTiI, mAnatI, zirISa, zani jevAM puSpa samRddhibharyA vRkSo che ane gAmanakkI, mAmra, unUrI, nartu TuDima, drAkSa, vanasa jevAM phalavRkSo paNa che. vaLI, azvattha, puratuM, nisva, codha, verI, zamI, zAmaLI, ziMzapa jevAM jANItAM vRkSo ya che ane mAru, maga, 3,svara, pUra, rUma, muka, guJI[, vandana, Dha, tUrvA, nAnira, vinDa, rivandana vagere pUjAdravya pUrAM pADatAM vRkSo paNa che. graMthanuM nAma ja sUcave che tema ahIM saMskRta sAhityamAM prApta thatA, vanaspati aMgenA nirdezo tapAsavAno lekhakano upakrama che, paraMtu sAthe sAthe kyAreka kyAreka gujarAtI sAhityamAMthI, temaja gujarAtI bhASAnA sAkSaro dvArA anUdita saMskRta racanAomAMthI paNa temaNe nirdezo sulabha karI ApyA che. eTaluM ja nahIM, aneka sthaLe lekhakazrIe aMgrejI sAhityakAronI noMdho paNa upasAvI che ane vaLI, saMskRta sAhityanA mULagraMthonA abhyAsa uparAMta, je te sAhitya upara racAyela TIkAgraMtha paNa anekavAra abhyAsano viSaya banyA che. A samagra nirUpaNamAM keTalIka ullekhanIya bAbato dhyAnamAM AvI che. te A pramANe cheche ahIM je te vanaspatinA saMdarbha ApatI vakhate, kramaprApta nAmanirdiSTa vanaspatinA paryAyarUpa zabdo nirdezI, te aMgenA saMdarbho ya lekhakazrIe AvarI lIdhA che. jema ke, #nama nI sAthe zAMti athavA manI sAthe razmIra vaLI, lekhakazrIe vanaspationAM vizeSa pracalita evAM nAmone ja ahIM sthAna ApyuM che. jema ke, vatvano nirdeza che, nIno nahi. paraMtu nIpa aMgenI jANakArI dhvamAMthI ja maLI rahe che. [vAstavamAM te banne paryAyarUpa nahIM paNa alaga alaga che. e aMgenI noMdha lekhake kAlidAsa ane rAjazekharane TAMkIne lIdhI che temAM amarakozamAM prApta vigatano virodha karAyo che, chatAM, te baMne khUba najIkanAM che athavA to prakAravizeSa che te bAbatano svIkAra paNa karyo che.]. che atre je te vanaspatinI svarUpagata khAsiyata ke lakSaNa spaSTa karavAnI yathAzakya koziza karavAmAM AvI che. te mATe vividha kozonI madada levAI che. chatAM, kozagata saMdarbhane pUrNa cakAsaNI pachI ja svIkAravAno Agraha rakhAyo che. ucita na jaNAya tyAM kazagata vigata sAme praznArtha ke virodha paNa darzAvyo che. [amarakoza tathA tenA uparanI TIkAmAM prApta ghaNI bAbato lekhakazrIne vAMdhAjanaka lAgI che (juo : 5. 130, 310 ityAdi) e ja rIte, bhAvamizna Apela noMdha paNa temane kyAreka asvIkArya jaNAI che. (juo : pR. 131] 7 prastuta graMthamAM je te vanaspati mATenA sAhityika saMdarbho to lagabhaga badhI ja vanaspati aMge ApavAmAM AvyA che, paraMtu apavAdarUpe kvacit saMdarbha nirdezAyA nathI. jema ke, 36 (pR. 68). A rIte, prastuta saMpAdanamAM lekhakazrIno mahanIya prayatna koIpaNa vAcakane lakSyamAM AvyA vinA nahIM rahe, je temanA saMskRta tema ja Ayurveda aMgenA vyApaka ne agAdha jJAna tathA bahoLA anubhavano paricAyaka che. Ama chatAM, samagra saMpAdanamAM keTalIka vigato aspaSTa rahI javA pAmI che. te nIce pramANe che - graMthasamIkSA 149 For Private and Personal Use Only

Page #153
pR. 67 - chellethI chaThThI paMkti - aMjIra e ApaNA dezanuM vatanI nathI. paradezathI AveluM che. aMjIra nAma ja arabI che. dura nAme vanaspatinA nirUpaNamAM AvatI A paMktio zuM sUcave che? teno zo artha samajavo? jhAstrIya nAme vanaspatinA nirUpaNamAM pR. 146 upara evI noMdha che ke - kAleyaka eTale agaranI koI jAta evo dhanvantari nighaTukAre artha karelo che te paNa saMbhavita che. kAleyaka amarasiMhanA mata pramANe dAruhaLadara (Berberic asiatica) che, paraMtu e artha ahIM ucita nathI lAgato. dArUhaLadaramAM sugaMdha nathI hotI... ahIM pahelAM to e prazna thAya ke, zAtreye ne tIyano paryAya samajavo? ke pachI strInne sthAne chAne chapAyuM haze ema vicArI tene mudraNadoSa mAnavo? kema ke, zAtreya nAme anya alaga vanaspatino nirdeza che ja. bIjo prazna joya nAme vanaspatimAM lakhelI noMdha uparathI uddabhave che. temAM kahyuM che - ...dArUhaLadaranAM vRkSo daherAdUna tarapha khUba thAya che. enAM puSpomAM khuzabo haze ema A ullekha uparathI lAge che. upara vAnInA saMdarbhamAM amarasiMhanA maMtavyano asvIkAra karatAM noMdhyuM che ke, "dArUhaLadaramAM sugaMdha nathI hotI' ane ahIM joya nA saMdarbhamAM - tenAM puSpomAM khuzabo hovAnuM jaNAvyuM che. temAM vadhatovyAghAta nathI zuM? athavA to lAge che' zabdo - nahIM khullo virodha ke nahIM pUrNa saMmati ema te aMge lekhakano moLo pratisAda sUcavanArA che ? pR. 102 upara A pramANe noMdha che - mRNA khrisaM" - A be paryAyavALA mRNAlano artha bhAnujI dIkSite ""kamaLanuM mUla" evo Apyo che. kamaLanA dAMDA (nAd)ne judo gaNAvavAmAM Avyo che, paraMtu pRpAtra ane visa banneno eka artha karavo ucita nathI. vRndaTIkAkAra zrIkaMTha mRNAlane "skUla' ane bisane "mRUInAtritapratAH' arthAt mRNAlamAMthI nIkaLelA tAMtaNA evo ucita artha kare che.' [1. eSA mano me prasabhaM zarIrAtpituH padaM madhyamamutpatantI / surAGganA karSati khaNDitAgrAta sUtraM mR!lAdiva rAjahaMsI / / ] A saMdarbhamAM keTalIka bAbato vicAraNIya jaNAya che. prathama to e ke, ahIM lekhakazrIe pAdaTIpa kramAMka1 jayAM - je vigata ApIne - mUkyo che, te bAbatano mUla saMdarbha pAdaTIpamAM apAyo hoya ema nathI, paraMtu zrIkaMThanA matane potAnA maMtavyanA samarthanamAM temaNe ullekhyo che ane zrIkaMThe je bAbata nirdezI che tenI puSTi mATe lekhaka kAlidAsanI racanAmAMthI saMdarbha laI pAdaTIpamAM TAMke che. alabatta, temaNe tyAM (vikramo. aM. 3.13) e pramANe saMdarbhanoMdha mUkI che paNa A pAdaTIpa dvArA eTaluM ja samajAya che ke, mRNAlamAM taMtu hoya che paNa te taMtu eTale bisa evI spaSTatA thatI nathI. bIjuM, lekhake ahIM mRNAla ane bisano bheda tAravyo che ane temAM AgaLa jatAM - kumArasaMbhavamAMthI saMdarbha TAMkI mRNAlano artha dAMDo ema svIkAryo che. vaLI, pR. 103 upara kamalanA kaMdo (mRNAla) evo nirdeza maLe che to pR. 104 upara gItagoviMdanA 150 sAmIpya : pu. 25, aMka 3-4, okTo. 2008 - mArca, 2009 For Private and Personal Use Only

Page #154
saMdarbhane samajAvatAM, (visarNavatta) padano artha mRNAlakhaMDa evo Ape che. te pachI, pR. 121 upara mRNAlano artha zvetataMtu karyo che. (je bisataMtuthI alaga jaNAto nathI) ane pR. 124 upara vaLI pAchA mRNAla ane bisane alaga gaNAvatAM kahyuM che - mRNAla eTale kamaLanA DAMDA ane bisa eTale DAMDAmAMthI nIkaLatA rezama jevA jhINA tAMtaNA. A saghaLA nirdezo uparathI ema jaNAya che ke, lekhakazrI to spaSTarUpe mRNAla ane bisane alaga ja mAne che, paraMtu je te saMdarbhagata samajUtImAM je te arthavizeSane darzAve che, jethI visaMvAditA UpasatI jaNAya che. vastutaH bhAnujIe Apela artha khoTo nathI. pAdaTIpamAM nirdiSTa mRNAlasUtra eTale ja bisataMtu ane tethI mRNAla ane bisane poya mAnavAmAM Ave to temAM anaucitya na lekhAvuM joIe. paNa cokkasa arthano ja Agraha rAkhIe to - mRNAla eTale taMtusahitanuM kamaLamUla ema mAnavuM joIe. A ja prakAranI visaMvAditA ne aspaSTatA anyatra paNa jovA maLe che. jema ke - pR. 255 upara nata nAme vanaspati aMge je vigato ApavAmAM AvI che, temAM A pramANe vAMcavA maLe che - natandra-narta zve ti, te vA " (bhA.dI.) nala eTale gaMdha je Ape che te. nAma kharekhara sArthaka che. enA paryAyo gamavuM, zaram, navanavuM, sevya, mRUITY, nAyam vagere che. bhAnujI dIkSite zivarAmUlI za" rUti tI' evo paricaya Apelo che. Aje paNa "khaza" nAmathI ja A vALo oLakhAya che, paraMtu 3zIrathI naH bhinna cIja che. vIrabhaNonAvALA evo artha karavo ucita che. ahIM nata zabdanI samajUtIrUpe - nala eTale gaMdha je Ape che te - ema je kahyuM che, temAM spaSTatA ochI jaNAya che, kharekhara to nala eTale ke gaMdha (ane gaMdha) je Ape che, te che nalada ema kahevuM joIe. bIjuM, naTu nA je paryAyo nirdezAyA che, temAMnA 3NIno asvIkAra ane ravI tarIke tenI prasiddhino svIkAra lekhakazrI kare che temAM - 'vIrabhaNonAvALA evo artha karavo ucita che eTalA zabdo kaMIka aMze aspaSTa rahe che. vIrabhaNonAvALA-ne sthAne vIraNavALo - evo zabda hoI zake ? kema ke, khaza eTale ke sugaMdhIvALo, ane tene mATe vIraNavALo nAma paNa prayojAya che pR. 256 upara lekhakazrIe nartanA eka anya artha "jaTAmAMsI'nI noMdha laI, tene badale bhAnujIe Apela "khasa' artha svIkArya lakhyo che. * bhAnujInA vanaspativiSayaka jJAna pratye khAsa zraddhA na dharAvatA lekhaka ahIM bhAnujInA maMtavyane svIkAre che paNa kharA ne virodha paNa kare che. nana eTale zIra nahIM ane nataH eTale vaza A be bAbato mAnatA lekhakazrI zIra ane ravAne alaga lekhatA jaNAya che, paNa zIra dvArA temane zuM abhipreta che, te atre teo jaNAvatA nathI. paraMtu, A pahelAM pR. 71 upara zIra nAme vanaspati aMge nirUpaNa karatAM, temaNe 3ra eTale khasano vALo evuM spaSTa rIte jaNAvyuM che. Ama, eTale khasa eTale ke sugaMdhIvALo tathA, zIra eTale khasano vALo - e pramANe spaSTa svIkAra karavA chatAM, nidra ane 3rane paryAya na mAnavA pAchaLanuM kAraNa athavA to nana ane vazIrane paryAya graMthasamIkSA 151 For Private and Personal Use Only

Page #155
mAnatA bhAnujIno virodha karavA pAchaLanuM temanuM valaNa samajAtuM nathI. 7 koI koI vAra je te vanaspatinI spaSTa oLakha lekhakazrI ApI zakatA nathI tyAre kyAMka sIdhesIdhuM potAnuM asAmarthya batAve che jema ke, prakSeSTha vize temane jANakArI nathI teno spaSTa ekarAra karyo che (pR. 284). to kyAMka vaLI je te vanaspatine judA judA nAme ne judA judA svarUpe varNavI che. jema ke, mattanI samajUtImAM lekhake tenA paryAyo nirdezyA che, jemAM vattayano paNa nirdeza che. teno artha temaNe nIlotpala evo Apyo che. (pR. 94) ane AgaLa jatAM, kamalanI bhinna bhinna jAto nirdezatAM valayane jonavanA paryAyarUpa gaNAvI teno artha rAtuM kamaLa evo Apyo che (pR. 124) ane vaLI, pR. 112 upa2 uttararAmacaritanA TIkAkAra vI22Aghavano mata nirdezatAM valayane candravikAsI zvetakamaLa hovAnuM jaNAvyuM che. Acharya Shri Kailassagarsuri Gyanmandir e ja rIte, pR. 204 upara ganapuSpInA nirUpaNamAM-rAmAyaNamAMthI teno saMdarbha ApyA pachI tenI oLakha aMge pahelAM teno artha yuthikA eTale jAI ka2vAnuM valaNa jaNAya che paNa pachI tene gajavela sAthe ekarUpa mAnavAnuM valaNa apanAvI teno artha zatAvarI evo karyo che. ahIM eka vAta noMdhavI joIze ke, uparanirdiSTa keTalAka saMdarbhone bAda karatAM, anyatra je te vanaspatinA svarUpanI spaSTatA arthe lekhake lIdhela parizramane dAda devI rahI. temAMya maMvAra (pR. 308) eTale kayuM vRkSa ? te vigata spaSTa karavAno temano prayAsa kharekhara stutya che. 7 lekhakazrIe potAno oSadhijJAnane saMskRta sAhityanA saMdarbho sAthe sAMkaLI ApyuM che, temAM kyAreka mULa saMdarbha ApavAne badale noMdhamAtra ja lIdhI che, jema ke - pR. 162 upara noMdha che ke - bhatRhirae kuzone (zRMgAra-34) vaMzakarIranI kAMti sAthe sarakhAvyA che. sahatatvAdyathA veLu: niviOM; Ta: vRtaH / na Ayate samuddhenuM bhrAtRsaMdhAtavAMstathA // (hitopadeza) ahIM zRMgAra-34 eTale zRMgArazatakanuM 34muM pagha, jeno mULa saMdarbha ahIM apAyo nathI, jyAre mahatatvAdyathA... vagere mULa saMdarbha uddhRta karI (hitopadeza) ema moghama nirdeza karI lIdho che, paNa cokkasa saMdarbha apAyo nathI, je Apavo joIto hato. e ja rIte, pR. 182 sukSma vanaspatinA nirUpaNamAM RtusaMhAra-1.24, 6.4 e pramANe saMdarbhanoMdha maLe che paNa tenAM mULa uddharaNa ahIM apAyAM nathI. pAdaTIpamAM paNa te aMge koI noMdha prApta thatI nathI. sAmAnya rIte, lekhaka je te vanaspatinA saMdarbho mULa racanAmAMthI uddharaNa TAMkIne ApatA hoya che ne ghaNuMkharuM teno artha paNa jaNAvatA hoya che. 152 A uparAMta, pR. 175 upara evI noMdha che ke -- rAto kAMTAriyo e vRkSa na kahevAya. enAM phUlanI maMjarIo nathI AvatI - A be paricayo kurabaka sAthe baMdhabesatA nathI. A noMdhamAM rAtA kAMTAsariyAnA paricaya aMgenI je be bAbato darzAvI che, teno mULa AdhAra ApavAnuM lekhakazrI cUkI gayA hovAnuM jaNAya che. sAmIpya : pu. 25, aMka 3-4, okTo. 2008 - mArca, 2009 For Private and Personal Use Only

Page #156
0 A graMthamAM nirdiSTa sarva vanaspatio mukhyatve temanAM mULa nAme eTale ke saMjJAvAcI nAmathI ja rajU thaI che. paraMtu temAM eka nirdeza judo che. te che. pR. 225 uparano jyotiSmatI oSadhino. tenA udAharaNarUpa saMdarbha ApatAM, SaSya: ke mahafdha evo nirdeza che te uparathI jaNAya che ke, jyotiSmatI oSadhi e saMjJAvAcI nAma na hotAM athabhipreta saMjJArUpa ja gaNAya. atre nirdiSTa A saghaLI truTio uparAMta, keTalAka mudraNadoSo paNa rahI javA pAmyA che. joke, prastuta saMpAdananA viSayano vyApa tathA lekhakazrIno thoDAmAM ghaNuM ApavAno utsAha temAM kAraNabhUta hovA saMbhava che. bAkI samagra graMthamAM lekhake lIdhelI jahemata tathA temaNe dAkhavela coksAI ne cIvaTa achatAM nathI rahetAM. graMthanI guNavattA ne gaurava cokkasa ja prazaMsAne pAtra che, emAM bemata nahIM. hA, truTio nivArI zakAI hota to graMtha sujJa vidvajjanone mATe vizeSa prItibhAjana banata. - DaoN. jAgRti paMDyA * * * ravIndranAthano zikSaNavicAra', le. nagInadAsa pArekha, prakA. gujarAta vidyAsabhA, bhadra, amadAvAda, prathama AvRtti, Dise. 2008, kiM. rU.40-00 ravIndranAthane ApaNe mukhyatve eka kavi tarIke oLakhIe chIe, paraMtu A rASTrapuruSe ApaNA dezanA zikSaNa, grAmasudhAraNA ane guhodyoga viSe paNa vicAraNA karI che ane tene amalamAM karyA che. sAhitya pachI zikSaNa jIvanabhara emanA rasano kendrIya viSaya rahyo che. gAMdhIjInI jema temaNe paNa ApaNA dezanI rUDha keLavaNIprathAmAM krAMtikArI vicAro dharyA che. gAMdhIjI emane "gurudeva' kahetA te yathArtha che. ravIndranAthe zAMtiniketana AzramamAM prakRtinA sAnnidhyamAM I.sa. 1901mAM zikSaNanA potAnA Adarza mujabanI zALA zarU karI hatI. e pachI 1921mAM vizvabhAratInI sthApanA karI hatI. Aje to zAMtiniketana jANe ravIndranAtha nAmano paryAya che. ravIndranAthanA zikSaNa viSenA vicAro viSe zrI nagInadAsa pArekhe gujarAta vidyAsabhAnA Azraye "vidyAbahena smAraka vyAkhyAno' (1982) aMtargata ApelAM vyAkhyAno ahIM saMgRhIta che. gujarAta vidyApIThamAM bhaNIne nagInadAsa pArekha 1925mAM zAMtiniketana anusnAtaka abhyAsa mATe gayelAM. tyAMnI zikSaNarItino emane pratyakSa anubhava paNa che. zrI nagInadAsa pArekhe 1908-1993) ApelAM A vyAkhyAnomAM garadeva ravIndranAthanA zikSaNaviSayaka anubhavo prayogo ane vicAronuM vizada nirUpaNa che. - bhoLAbhAI paTela * * * "gujarAtamAM nArI cetanA", le. zirIna mahetA, prakAzaka: darzaka ItihAsa nidhi, 2009, pR. 7-488, prApti sthAna : raMgadvAra prakAzana, 15, yunivarsiTI plAjhA, navaraMgapurA, amadAvAda, kiMmata : rU. 250-00 Aje paNa puruSapradhAna samAja vyavasthAnA DhAMcAmAM gujarAtanI moTA bhAganI strIo parAdhIna dazAmAM che. paraMtu eka jamAnAmAM to strIonI paristhiti atyaMta duHkhada hatI. gujarAta ane hiMdamAM pravartatA sAmAjika aniSTono bhoga strIo banI hatI. AvA viSama saMjogomAM briTiza zAsananI sthApanA bAda 19mA saikAnA graMthasamIkSA 153 For Private and Personal Use Only

Page #157
uttarArdhamAM samAja-sudhArAnuM je AMdolana thayuM temAM narmada, mahIpatarAma rUparAma, mahArAjA sayAjIrAva gAyakavADa ane kavi dalapatarAmanI jema harakuMvara zeThANI, pArvatIkuMvara jaDAva, kRSNAgaurI hIrAlAla rAvala, paMDitA jamanAbAI, nAnIbahena gajjara, bAjIgaurI munazI ane DaoNkTara moTI bahena kApaDiyA jevI tejasvI mahilAoe bhAre parizrama karIne srIonA nyAya ane samAnatA mATe jhUMbeza zarU karI hatI. gujarAta ane briTananA daphataro temaja graMthAlayono upayoga karIne, aneka srotone AdhAre DaoN. zirInabahena mahetAe gujarAtamAM vikasela nArI cetanAne suMdara rIte upasAvI che. ane A mahAna ghaTanAne samajavA mATe temaNe prAcIna ane madhyakAlIna gujarAtanI strIonuM varNana ane vizleSaNa karyuM che. mAtra varNano karavAne badale temaNe sAmAjika vikAsanA saiddhAMtika ane vaicArika abhigamonI chaNAvaTa karIne strI-abhyAsa ane tenI paddhatione navI dizA ApI che. Acharya Shri Kailassagarsuri Gyanmandir A pustakanA sauprathama prakaraNamAM cokhavaTa karI che ke temaNe liMgabheda (gender)ne temanA abhyAsamAM mukhya sthAna ApyuM che. temanA zabdomAM : 'kudaratI zArIrika bhedane aitihAsika, sAmAjika, sAMskRtika paribaLoe strInAM jIvana, kavana, mobhAnuM kaI rIte ghaDatara karyuM ? e mArA abhyAsanI mukhya dharI che. liMgabhedane lIdhe sAMskRtika, sAmAjika bhUmikAmAM strI-puruSanAM kevAM valaNo che te agatyanuM che. Ane pariNAme puruSanuM Adhipatya ane strInuM gauNa sthAna udbhave che. strIne naitika mUlyo AdhArita AcArasaMhitAnuM pAlana karavAnuM hoya che. strIdharmano amala karavAno hoya che. puruSa A badhAM niyaMtraNothI para bane che... Ama chatAM mArA abhyAsanI bhUmikA puruSa viruddha strInI nathI kAraNa ke strI-puruSa vacce saMvAda (dialogue) ane ekabIjA sAthe sahakAra karavAnI paNa bhUmikA sarjAya che.'' AdhAra prAcIna samayanA sAhityika, dhArmika ane naitika srotone AdhAre lekhikAe AryasaMskRti ane temAMthI kALakrame pragaTa thayela hiMdu, bauddha ane jaina dharmanuM vihaMgAvalokana karIne strIonI sAmAjika paristhiti samajAvatAM lakhyuM che ke te samaye strI-sanmAnanI bhAvanA pravartatI hatI ane AvAM kAraNosara khAsa karIne, jaina ane bauddha dharmamAM aneka tejasvI strIo thaI gaI. paraMtu 'manusmRti' jevA graMtho dvArA puruSonI strIo upara pakaDa vadhatI gaI. lekhaka kahe che : ''yAjJavalkayasmRti ane viSNusmRti strIo ane vidhavAo, mATenA milakatanA adhikAro aMge manusmRti karatAM vadhAre udAra hatA.'' madhyakAla daramiyAna jo ke strIo upara puruSonI pakaDa vadhI. Ama chatAM muslima samAjamAM rajhiyA sulatAnA, gulabadana begama ane jhebugnizA jevI strIo ane jaina tathA hiMdu samAjamAM anupamA, gaurIbAI, mIrAM ane jAnIbAI jevI zaktizALI strIoe sAMskRtika ane sAhityika kSetromAM pradAna karyuM hatuM. alabatta, moTA bhAganI strIo rAjavaMzI kuTuMbonI hatI. Ama chatAM strIoe itihAsamAM mahattvanI bhUmikA to bhajavI ja hatI. prastuta graMthamAM temanI bhUmikA samajAvavAmAM AvI che. 154 AvI lAMbA gALAnI aitihAsika bhUmikAne tapAsyA bAda zirInabahene 19 ane 20 mA saikAnI strInetAgIrIne upasAvI che. zikSaNa, sAhitya, samAja sudhAro, arthakAraNa ane patrakAratva jevA aneka kSetromAM gujarAtI mahilAoe bhagIratha prayAso karIne strIonI paristhiti sudhArI hatI. mAtra vyaktigata rIte ja nahIM, leDIjha klaba, vanitA vizrAma ane gujarAtI hiMdu strI-maMDaLa jevI saMsthAo dvArA sAmUhika saMghabaLa UbhuM karIne strIoe sAmAjika jAgRtinI jyotane vistArI hatI. gAMdhIjInA 1915mAM hiMda Agamana pahelAM gujarAtanI strIoe pragatizIla puruSono sahakAra prApta karIne samAja parivartananI navI dizA banAvI hatI. tene pariNAme zrImaMta ane madhyama varganI strIonI sthiti sudharI hatI. sAmIpya : pu. 25, aMka 3-4, okTo. 2008 For Private and Personal Use Only - mArca, 2009

Page #158
gAMdhI yuga daramiyAna navA AyAmo sarjAyAM ane strIoe temanA kAryakSetrane vyApaka ane vadhAre makkama banAvyuM. jyotisaMgha ane vikAsagRha jevI aneka saMsthAo, pahelAMnI strI saMsthAonI sarakhAmaNImAM vadhAre laDAyaka svarUpanI hatI. puruSo dvArA thatA atyAcAro sAme saMgharSa karavAnA AzayathI vinodinI nIlakaMTha, cArUmatI yoddhA ane puSpAbahena mahetA jevI strIoe vartamAnapatro, polIsa ane kAyadAno upayoga karIne keTalAye gu gAra puruSone jelabhegA karyA hatA. tenuM eka mahattvanuM kAraNa e che ke A navI peDhInI keTalIya strIo kaoNlejo ane yunivarsiTIomAM bhaNIgaNIne paristhitine pahoMcI vaLavA mATe ""taiyAra thaI hatI. vaLI gAMdhI yuga daramiyAna gujarAtanI lAkho strIoe svAtaMtrya saMgrAmamAM khUba mahattvano bhAga bhajavyo hato. mAtra nagaromAM vasatI strIo ja nahIM, gAmaDAmAM khetInuM kAma karatI strIoe paNa prabhAta pherIomAM bhAga lIdho hato ane dArUnI dukAno sAme pikeTiMga karyuM hatuM. gAMdhIjIe zarU karelI "mAsa muvamenTa"nAM racanAtmaka pAsAMo strI-jAgRtinI dRSTie krAMtikArI puravAra thayA hatA. DaoN. zirIna mahetAe lAMbA samayanA phalaka upara bRhad ane sugrathita nArI itihAsa lakhyo che. te strIabhyAsamAM navI bhAta pADe che. vaLI chellAM daseka varSathI to kaoNlejo ane yunivarsiTIomAM strI-abhyAso ekeDemika sIlebasanA bhAgarUpe zarU thayA che. lekhikAe evI bhAvanA vyakta karI che ke ""samatAvAdI ane bahutvavAdI samAjanA navanirmANamAM rasa dharAvanAra sau koI gujarAtIne - vidyArthIo, adhyApako, sAmAnya mANaso, mahilA netAo ane saMsthAo - temano graMtha upayogI ane rasaprada thaI paDaze." - rAmajIbhAI sAvaliyA graMthasamIkSA 15s For Private and Personal Use Only

Page #159
saMsthAvRtta 2. dI.ba.pro. kezava harSada dhruva smAraka prakAzana yojanA aMtargata "anubhavabiMdu'nI gujarAtI racanAnI punarmudrita AvRtti - covIsamA graMtha tarIke prakAzita karavAmAM AvI che. saMsthA dvArA yojavAmAM AvatI vividha viSayonI vyAkhyAna zreNIonA upakrame sagata "zrI jayendra nANAvaTI TrasTa phaMDa yojanA anvaye tA. 29-9-2008nA roja DaoN. bhoLAbhAI paTelanA pramukhasthAne bhAratIya saMskRti ane kalAnA vidvAna ane UMDA abhyAsI temaja ha. kA. ArTsa kaoNlejanA bhAratIya saMskRti vibhAganA adhyakSa DaoN. thomasa paramAre 'hiMdu lagna : saMskRti ane kalA saMdarbhamAM' viSaya para slAiDa-za dvArA vyAkhyAna ApyuM hatuM. zrI aruNa milsa ceriTI TrasTa ane zrI surottama haThIsiMhanA anudAnathI "bhAratIya saMskRti vyAkhyAnamALA" anvaye tA. 25-2-20O9nA roja gujarAta vidyAsabhAnA pramukha DaoN. bhoLAbhAI paTelanA adhyakSasthAne bhASAbhavananA seminAra haoNla (guja. yuni.)mAM urdU-phArasInA bahuzruta vidvAna DaoN. jhubera kurezI (pUrva adhyakSa, urdU-phArasI vibhAga, bhASA-sAhityabhavana, gujarAta yunivarsiTI)e "mughalakAlIna gujarAtanuM vaNakheDAyela sAmAjika darzana : maulAnA muhammada siddIka paTaNInA arabI hastapratone AdhAre' viSaya para vyAkhyAna ApyuM hatuM. saMsthAnA myujhiyamamAM saMgrahAyela arabI, phArasI ane urdUnA khatapatronA keTaloganuM kArya pUruM karavAmAM AvyuM. hAla ukta bhASAnI prAcIna hastapratonA kaeNTaloganI kAmagIrI zarU karavAmAM AvI che. varSa daramiyAna saMsthAmAM navanirmita myujhiyama gelerImAM prAcIna avazeSo, hastaprato, zilpo temaja anya avazeSonI navesarathI goThavaNI karavAmAM AvI. paradezanI vividha yunivarsiTIonA bhAratIya vidvAno temaja saMzodhakoe saMsthAmAM jaLavAyela alabhya graMtho temaja prAcIna hastapratonA adhyayana-saMzodhana mATe varSa daramiyAna saMsthAmAM rahI abhyAsa karyo hato. Dr. Purnima Shah - Asst. Profesor of the practice of Dance, Duke University, Dance Programme, Durham, Nort Carolina, USA 2. Shruti A. Patel - Ph.D. Student, Religion (South Asian), MA, Columbia University, New York, USA Shital Sharma - Ph.D. Cadidate, Faculty of Religious Studies, McGill University, Montrea, Canada. DaoN. priyabALA zAha saMzodhana prakAzana phaMDa' aMtargata saMsthAnA kAryakArI niyAmaka DaoN. rAmajIbhAI sAvaliyAe taiyAra karela "inDolojI" viSayaka graMtha "Steps of Indology"nuM prakAzana karavAmAM AvyuM. 156 sAmIpya : pu. 25, aMka 3-4, okTo. 2008 - mArca, 2009 For Private and Personal Use Only

Page #160
saMsthAmAM kAryarata zrI brahmacArI vADI saMskRta pAThazALA dvArA tA. 9-5-2008nA divase zaMkarAcAryajayaMtinA pAvana prasaMge pAThazALAnA paurohityam vibhAganA vidyArthIo vaDe bho. je. vidyAbhavananA vAcanakhaMDamAM yajJAnuSThAnanuM Ayojana karyuM hatuM. A prasaMge zrI bRhad gujarAta saMskRta pariSada dvArA gatavarSe levAyela karmakAMDabhUSaNa tathA vizAraduM ane jyotiSabhUSaNanI parIkSAonA pramANapatra vitaraNano kAryakrama rAkhavAmAM Avyo hato. bho. je. vidyAbhavananA mAdhyamathI "zrI 2. ci. tripAThI ziSyavRtti' dara varSe pAThazALAnA eka vidyArthIne ApavAmAM Ave che. cAlu varSanI A ziSyavRtti umeza avasthIne ApavAmAM AvI hatI. zrI brahmacArI vADI saMskRta pAThazALA khAte zrAvaNavAsa nimitte tA. ra7-8-2008 nA roja mAnA AcArya zrIdharabhAI vyAsanuM zivamahimna stotra" upara vyAkhyAna yojAyuM hatuM. jemAM pAThazALAnA chAtro uparAMta anya pAThazALAnA AcAryo ane viSayanA jijJAsuo upasthita rahyA hatA. zrI bRhad gujarAta saMskRta pariSada dvArA Dise. 2008mAM yojAyela saMskRta nATyaspardhAmAM zrI brahmacArI vADI saMskRta pAThazALA dvArA rajU karavAmAM Avela "zrI satyanArAyaNo vijayatetarAm" nATakane "vizvavaMdya pa.pU. kRSNazaMkara zAstrI vijayapadhdha' prApta thayuM hatuM. A nATakanuM lekhana tathA digdarzana pAThazALAnA mAnA AcArya zrIdharabhAI vyAse karyuM hatuM. sAmIpya : pu. 25, aMka 3-4, okTo. 2008 - mArca, 2009 157 For Private and Personal Use Only

Page #161
"19mI sadInuM gujarAta' viSaya upara parisaMvAda vizeno ahevAla chellA traNeka dAyakAthI itihAsanA vividha viSayone lagatAM seminAro gujarAtamAM yojAya che ane te ghaNI AzAspada ghaTanA che. paraMtu keTalAka seminAro evA hoya che je eka tarapha bhUtakALane sAMprata pravAho sAthe joDe che ane bIjI tarapha te "InTara DisIplanarI" abhigamane lakSamAM laIne itihAsa, sAhitya, samAja, Arthika pravAho, zikSaNa ane khAsa karIne strI zikSaNanI vacce samanvaya karIne te bRhad gujarAtI samAja samakSa rajU kare che. AjanI ApaNI sAmAjika, zaikSaNika ane sAMskRtika samasyAone lakSamAM laIne Avo eka tejasvI ane lokopayogI seminAra tAjetaramAM bho.je. vidyAbhavana ane gAMdhInagaramAM Avela gujarAta sAhitya akAdamInA saMyukta upakrame amadAvAdamAM tA.16-3-2009nA roja yojAyo hato. samAja, zikSaNa ane sAhityanI dRSTie 19mo saiko atyaMta mahattvano hovAthI "19mI sadInuM gujarAta" viSaya upara seminAranuM Ayojana karavAmAM AvyuM hatuM ane gujarAtanA vidvAnoe temAM utsAhapUrvaka bhAga laIne carcAo karI hatI. A parisaMvAdanA atithi vizeSa tarIke khyAtanAma itihAsavid pro. makaranda mahetA ane pramukhasthAne khyAtanAma sAhityakAra temaja gujarAta vidyAsabhAnA pramukha padmazrIthI alaMkRta Do. bhoLAbhAI paTela upasthita rahyAM hatAM. gujarAta vidyAsabhA to cheka 1848mAM sthapAI hatI ane teNe gujarAtanA sarvAgI vikAsa mATe athAga parizramo karyA che. gujarAta varnAkyulara sosAyaTIe 1946mAM tenuM nAma badalIne "gujarAta vidyAsabhA" evuM gauravavaMtu nAma ApyuM che. paraMtu Aje je gujarAta vidyAsabhAnA pramukha DaoN. bhoLAbhAI paTela che tenI eka lAMbI ane tejasvI paraMparA paNa che. AvI aitihAsika ane sAMskRtika paraMparAone lakSamAM laIne atre uparokata parisaMvAdano ahevAla rajU karavAmAM Avyo che. bho. je. adhyayana-saMzodhana vidyAbhavana dvArA gujarAta sAhitya akAdamI, gAMdhInagaranA Arthika sahayogathI tA. 16-3-2009nA roja savAre 9-30 vAgye "19mI sadInuM gujarAta' viSaya para eka divasIya parisaMvAdanuM Ayojana karavAmAM AvyuM hatuM. A prasaMge bho. je. vidyAbhavana vAcana khaMDamAM "sAhitya pradarzana goThavavAmAM AvyuM hatuM, jene DaoN. bhoLAbhAI paTelanA haste khulluM mUkavAmAM AvyuM hatuM. temAM gujarAtI bhASA ane sAhityanI utpattithI laIne 1950 sudhInA sAhitya vikAsanI yAtrA darzAvatA cArTa mUkavAmAM AvyAM hatAM. I.sa. 1953mAM gujarAta vidyAsabhA ane gujarAta ejyukezana sosAyaTInA saMyukta upakrame amadAvAda khAte maLela akhila bhAratIya prAcyavidyA pariSadanA 17mA adhivezana prasaMge ukta sAhitya pradarzana bho. je. vidyAbhavana dvArA taiyAra karI pradarzita karavAmAM AvyuM hatuM. A pradarzana nihALavA gujarAta vidyAsabhAnA pramukhazrI ane vikhyAta sAhityakAra DaoN. bhoLAbhAI paTela, Do. raghuvIra caudharI, suprasiddha itihAsakAra ane patrakAra padmazrI DaoN. kumArapALa desAI, itihAsakAra daMpatI DaoN. makaranda mahetA ane zirIna mahetA, pro. Ara. ela. rAvala jevA gujarAtanA tejasvI vidvAno AmaMtrita mahemAno, mahAnubhAvo, adhyApako ane vidyArthIo moTI saMkhyAmAM hAjara rahyAM hatA. tyArabAda 9-30 vAgye ha. kA. kaoNlejanA yu.jI.sI. kaoNnpharansa haoNlamAM saMsthAnA kAryakArI niyAmaka DaoN. rAmajIbhAI sAvaliyAe AmaMtrita mahemAno ane upasthita viddhajjano temaja adhyApaka mitro ane vidyArthIonuM 158 sAmIpya : pu. 25, aMka 3-4, okTo. 2008 - mArca, 2009 For Private and Personal Use Only

Page #162
bhAvabhInuM svAgata karyuM hatuM. teozrIe saMsthAno saMkSipta paricaya ApI A parisaMvAdano mukhya uddeza vividhakSetronA vidvAna vaktAone AmaMtraNa ApI, bhASA-sAhitya, itihAsa vagere viSaya paranA vaktavyo ane paricarcA dvArA navA vicAro ane viSayo janasamAja ane khAsa karIne saMzodhako ane vidyArthIone upayogI thatAM hovAnuM jaNAvyuM. te pachI DaoN. rAmajIbhAI sAvaliyAnA bho. je. vidyAbhavana dvArA prakAzita 'inDolojI' viSayaka graMtha 'Steps of Indology' nuM DaoN. makaranda mahetAnA haste lokArpaNa karavAmAM AvyuM hatuM. atithi vizeSa DaoN. makaranda mahetAe potAnA udghATana udbodhanamAM 19mI sadInA sAhityanA saMdarbhamAM sAMsthAnikakAla daramiyAna racAyelA sAhitye pazcimanA sAMskRtika prabhAvano mukAbalo karavA tenAM navIna arthadhaTano karyA hovAnuM jaNAvI, pazcimanA anubhavone AdhAre vikaselAM sAmAjika parivartanonA vikalparUpe asaMmati, pratikAra ane sudhArA jevI saMjJAono upayoga karIne bhArata ane gujarAtanA sAhityane samajavAno prayAsa karyo hovAnuM jaNAvyuM. Acharya Shri Kailassagarsuri Gyanmandir DaoN. bhoLAbhAI paTele 19mI sadInA gujarAtI sAhityano aitihAsika vikAsakrama AlekhatAM te samayanI gujarAtI bhASAnI AraMbhika gadya kRtio ane anya vicAragraMtho ane graMthakAronA pradAnanI vAta karI hatI. udghATana pachInI prathama beThakanA vaktA ane adhyakSa DaoN. ravikAnta rAvale 19mI sadI daramiyAna gujarAtamAM thayela sAmAjika sudhArAnI prakriyAne navI ja daSTie navA abhigamathI mUlavavAnuM sUcana karyuM hatuM. DaoN. raghuvIra caudharIe 19mI sadInA 'sAsuvahunI laDhAI' jevI navalakathAomAM gujarAtanI sAmAjika chabI aMgenA vaktavyamAM te samayanA samAjanA kurivAjo ane paraMparAonA tANAMvANAMno khyAla Apyo hato ane sAmAjika chabIne samajavA mATe lagna saMsthAne pAyAnA paribaLa tarIke gaNAvI hatI. DaoN. caMdrakAnta TopIvALAe 'bApAnI pIMpaLa' kAvyano saMdarbha ApI dalapatarAmanI jIvanayAtrAnuM rasaprada varNana karyuM hatuM. bIjI beThakanuM adhyakSa sthAna prasiddha ciMtaka ane padmazrI DaoN. kumArapALa desAIe saMbhALyuM hatuM. A beThakamAM DaoN. thomasa pa2mA2e 19mI sadInA gujarAtanI navajAgRtimAM I.sa. 1848mAM sthapAyelI gujarAta varnAkyulara sosAyaTI (hAlanI gujarAta vidyAsabhA)nA vividhakSetre pradAna aMgenI vigato vistArathI jaNAvI hatI. DaoN. kumArapALa desAIe 19mI sadInA patrakAratvanA saMdarbhamAM gujarAtI, vartamAna, buddhiprakAza, zAradA prasthAna vagere jevAM sAmayiko ane patrakAratvakSetre thayelA pheraphAro ane vikAsanI chaNAvaTa karI hatI. DaoN. bhoLAbhAI paTele samApana vaktavyamAM ogaNIsamI sadI viSe thaI rahelAM dezanI vividha bhASAomAM adhyayano viSe vAta karI hatI. aMtamAM samAraMbhanI pUrNAhuti prasaMge DaoN. rAmajIbhAI sAvaliyAe upasthita sahu mahemAno vidvAno, adhyApaka mitro ane vidyArthIo temaja mukhya vaktAono hArdika AbhAra mAnyo hato. A parisaMvAdanuM Ayojana pUrNa saMcAlana pri. subhASa brahmabhaTTe karyuM hatuM. - saMpAdaka sAmIpya : pu. 25, aMka 3-4, okTo. 2008 - mArca, 2009 For Private and Personal Use Only 159

Page #163
bho. je. vidhAbhavananAM prApya prakAzano Archaeology of Western India saMpA. DaoN. ha.gaM. zAstrI ane DaoN.pra.ci. parIkha graMtha 8-9 by M. K. Dhavalikar Rs. 150-00 History And Culture of Madhya Pradesh graMtha 8 : briTizakALa (I.sa.1818-'14) rUA. 20-40 by Prof. K. D. Bajpai Rs. 100-00 graMtha 9 : AjhAdI pahelAM ane pachI A Historical and Cultural Study of the (I.sa. 1915 thI 1960) rUA. 40-40 Inscriptions of Gujarat yoga, anuyoga ane maMtrayoga DaoN.bhogIlAla sAMDesarA rUA.60-00 by Dr. H.G.Shastri | Rs. 130-00 Jainism from the view point of Vedantic Acarya jainadarzana ane purAvastuvidyA DaoN. 2. nA. mahetA. rUA.35-00 by Prof. Y.S. Shastri Rs. 45-00 jainadarzanamAM zraddhA (samyagdarzana) matijJAna ane kevala-jJAnanI The Bhagavata, (Critical edition) vibhAvanA le. DaoN. nagIna zAha rU. 35-00 Vol. I ed. by Dr. H.G.Shastri Rs. 500-00 jaina darzanamAM naya, le. jitendra zAha rU. 50-00 Vol. II ed. by Dr. Bharati Shelat Rs. 800-00 saurASTranuM saMtasAhitya, le. niraMjana rAjayaguru rUA. 80-00 Vol. III ed. by Dr. H. G. Shastri, arthopahAra-saMcaya - kezavalAla ha. dhruva, 2003 Dr. B.K.Shelat, Dr. K.K.Shastree Rs. 800-00 rU. 65-00 Vol. IV, Part I Rs. 1,000-00 viMdhyavananI kanyA - anu. ke. ha. dhruva, 2004 rU.80-00 Part II Rs. 400-00 gItagovida - saMpA. kezavalAla ha. dhruva, 2006 rU. 50-00 Part III Rs. 150-00 ratnadAsakata harizcaMdrAkhyAna - ke. ha. dhruve, 2008 rU. 50-00 Underground Shrine : Queen's Step-well at bhAratIya darzanamAM Atmatattva tathA paramAtmatattva vibhAvanA Patan, by Jaikishandas Sadani, 1998 Rs. 125-00 le. prA, sI.vI.rAvaLa rU. 125-00 The Art of Abanindranath Tagore and Regional responses to the spirit of Revival pratimA saMpA. ke. ha. dhruva, 2002 rU. 35-00 by Ratan Parimoo Rs. 95-00 narasai mahetAnuM AkhyAna, ke. ha. dhruva, 2000 rU. 65-00 The Concepts of Atman and Paramatman in pradhAnanI pratijJA - ke. ha.dhruva, 2002 rU. 65-00 Indian Thought by Siddheshvar Bhatt Rs.50-00 maMdirAMta pravezikA kiMvA saMskRta bIjI copaDI Some Jain Concepts and Conduct - saMpA. kezavalAla ha. dhruva, 2002 rU. 100-00 by Sushma Singhvi Rs. 60-00 Steps of Indology by Ramjibhai Savalia Rs. 200-00 FthAvavothamzam saMpA. ke. ha. dhruva, 2004 rU. 30-00 mathurAkalA Do. vAsudeva zaraNa agravAla 1964 ka. 30-00 madhyama - saMpA. kezavalAla ha. dhruva, 2007 rU. 40-00 jaina sampradAya meM mokSa, avatAra aura punarjanma yurApurAnAM aitihAsika tattva, ke.ha, dhruva, 2007 rU. 40-00 Do. padmanAtha jainI, 1982 . 10-00 eziyAI lUNo -saMpA.kezavalAla ha. dhruva, 2007 rU. 40-00 mAhnivI pratI, se. Do. . , zrIvAstava sTa, 220-00 sauMdaryayAtrA, saMpA. DaoN. Ara. pI. mahetA ane "gujarAtano rAjakIya ane sAMskRtika itihAsa graMthamAlA" Do.Ara.TI. sAvaliyA 2007 rU. 40-00 saMpA.: pro.ra.cho. parIkha ane DaoN. .gaM, zAstrI graMtha 1-7 luptaprAya AdikAlIna jaina tattvajJAnanA gUDha saMketo graMtha 1 : itihAsanI pUrvabhUmikA (punarmudrita) rUA. 217. pro. baMsIdhara bhaTTa 1996 rU. 30-00 graMtha 2 : mauryakAlathI guptakAla (punarmudrita) rUA. 204- mUrtividhAna, Ara.TI. sAvaliyA, 2008 rU. 50-00 graMtha 3: maitraka ane anumaitrakakAla(punarmudrita) rUA. 276 - gujarAtI bhASAno zabda koza - pa varNa, graMtha 4 : solaMkIkAla (punarmudrita) 31. 1dada- saMpA. kezavalAla ha. dhruva, 2008 rU. 125-00 graMtha 5 : saltanatakAla (aprApya) rUA. 25-50 1857: keTalAka pravAho, saMpA. DaoN. Ara.TI, sAvaliyA, graMtha 6 : mughalakAla (aprApya) rUA. 19-45 makaranda mahetA, 2008 . -00 graMtha 7 : marAThAkAla rUA. 13-25 anubhavabiMdu, kezavalAla ha. dhruva, 2009 rUA. 50-00 Gujarat Vidyasabha Premabhai Hall, Bhadra, Ahmedabad-380001 Available at B. J. Institute H.K.College Compound, Ashram Road, Ahmedabad-9 For Private and Personal Use Only

Page #164
padAnI jara sAta vedAntI kavi akhAkRta 'anubhavabiMdu', saMzodhaka : zrI kezavalAla harSadarAya dhruva, trIjI AvRtti, 2009, kiM. rU. 50-00 | prA. kezavalAla dhruve vedAMtI kavi akhAkRti 'anubhavabiMdu' vize saMzodhana karIne I.sa. 1932mAM laghugraMtha prasiddha karyo hato. te pachI, I.sa. 1953mAM TippaNa ane anubhavabiMdu samajUtI sAthenI bIjI AvRtti pragaTa thayelI tenI 2009mAM punarmudrita AvRtti bho.je. vidyAbhavana dvArA prasiddha karavAmAM AvI che. zrI dhruva sAhebanuM A saMskaraNa, akhAnA "anubhavabiMdu'nI agAunI AvRttiomAM akhAe vAparelI yamakasAMkaLI (je keTalI eka hAthamatonA nirIkSaNa pachI temaNe zodhI che)ne lIdhe, uparAMta pATha nakkI karavAnI temanI adyatana paddhatine lIdhe mahattvanuM che. akhAnI anubhavabiMdu kRtine samajavA mATe zrI dhruvasAhebe TippaNI uparAMta gujarAtI bhASAmAM samajUtI ApI che. jemAM brahma, jagata, jIva, brahmabhAvanA, anubhavadazA, karmakAMDa, brahmabhAvanI sUjha vagere peTA vibhAgo pADI vAcakanI rasavRttine keLavavAno prayatna karyo che. akhAne samajavAmAM A laghugraMtha upayogI thaze evI AzA rAkhIe chIe. mo, 1. adhyazana seMghanA piujpavana nI marajIvAda-dahaeet 'Steps of Indology' by Dr. Ramjibhai Savalia Pub. B. J. Institute, Ashram Road, Ahmedabad-380009. Price : 200-00 The present work "Steps of Indology' attemps to cover a short compass the various aspects of the steps of Indology and is intended for the use of general readers and all the students of Indology. Layman may feel - Steps offii that some of the chapters (Like 'Maritime Heritage of Gujarat' and Lord INDOLOGY Sri Krsna - The life - breath of Indian Painting') assume a greater acquaintance with the subject is justified. Moreover the last chapter regarding MSS in Palm-leaf illustrated is amusing for the readers. The different chapters in this work have been contributed by Dr. Ramjibhai Savalia, the Director-in-charge of B. J. Institute of Learning and Research, Ahmedabad. This book will be useful by private bodies, including universities and learned societies, both in India and abroad. I take this opportunity of thanking the author providing me to read and write the Foreword. I congratulate the author for this unique work. bi Saw B. J. Institute of Learning & Research Ahmedabad - DR. PRiyabala Shah : prakAzana prApti sthAna : gujarAta vidhAsabhA premAbhAI haoNla, bhadra, amadAvAda-1, phona : 079-25507136 bho. je. vidyAbhavana eca. ke, kaoNleja kampAunDa, AzramaroDa, amadAvAda-380009, phona : 079-26588862 For Private and Personal Use Only